THE 


New  England  Conservatory  Course 

v!  V.’.  ’ ' 4 ■'  • ' ’ • V 

»rV 

IN 


GENERAL  SIGHT  READING. 


OAK  ST.  HDSF 


THE  UNIVERSITY 
OF  ILLINOIS 

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UMVTRSrTYOF  ILLINOIS  LIBRARY 

MAR  » 1912 


THE 

NEW  ENGLAND  CONSERVATORY  COURSE 

IN 

GENERAL  SIGHT  READING. 


PUBLISHED  BY 

THE  NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

FRANKLIN  SQUARE.  BOSTON,  MASS. 

Copyright,  1897,  by  The  New  England  Conservatory  of  Music. 


Jfranfc  ©tics, 


®uafc  printer, 


JBoston  flDasa. 


tf 794'  3 

C&l-YX 


PREFACE. 


The  most  encouraging  sign  in  connection  with  the  growth  of  music  in  the 
United  States  is  the  increasing  desire  on  the  part  of  those  who  study  music  to  begin 
at  the  proper  point  and  to  lay  a secure  foundation  for  future  musical  achievements. 
Without  question  the  corner-stone  of  that  foundation  is  the  ability  to  read  music  at 
sight.  The  term  “reading  at  sight”  applies  primarily  to  the  ability  to  know  the 
sounds  of  a musical  composition  by  merely  looking  at  the  notes  and  secondarily  to 
the  ability  to  correctly  produce  those  sounds  with  the  voice  or  instrument  without 
previous  study.  To  enable  students  to  acquire  this  ability  in  the  shortest  possible 
time  this  work  has  been  prepared  combining  the  use  of  both  voice  and  instrument. 
This  method,  it  is  believed,  appears  for  the  first  time  in  this  work  and  it  appeals 
equally  to  those  who  aspire  to  become  Vocalists  or  Instrumentalists. 

To  all  earnest  students  of  either  class  these  pages  are  committed  in  the  full  con- 
fidence that  those  who  faithfully  perform  each  task  in  its  proper  order  will  find  at 
the  end  that  they  have  laid  well  the  foundation  of  true  musicianship. 

(3) 


SAMUEL  W.  COLE, 

Supt.  Sight  Reading  Department. 

New  England  Conservatory  op  Music, 

Boston,  Mass.,  Sept.  1897. 


Q'Q 
Os «_/ 


096-5 


INDEX. 


Page 

Active  Tones 7 

Accidentals 32 

Augmented  Primes 33 

Augmented  Sixths 34 

Augmented  Fifths  and  Seconds.  ...  43 

Chromatic  Intervals 32 

Chromatic  Scale 32 

Chord  Positions 80 

Diminished  Thirds 33 

Diminished  Octaves 34-46 

Diminished  Seventh  Chord 84 

Diminished  Seventh  Chord  and 

Inversions 85 

Diminished  Seventh  Chord  and 

Resolution 87 

Dominant  Seventh  Chord  and 

Inversions 74-79 

Ear-Training 6 

Fourths 21-38 

Fourths.  Thirds  and  Seconds.  ...  22 

Fifths 23-39 

Fifths,  Fourths  and  Seconds  . . . 24-39 
Four-Part  Chords  and  Inversions  ...  60 

Four-Part  Harmony 80 

Groups 6 

Harmonic  Names 7 

Harmonic  Minor  Scale 38 

Inactive  Tones 7 

Intervals 18 

Inversion  of  Triads 52-56 

Key-Signatures 35 

Minor  Mode 31 

Melodic  Minor  Scale 35 

O) 


Page 

Major  and  Minor  Mode 36 

Modulation 62 

Modulation  to  Dominant  and 

Sub-Dominant 92 

Modulation  in  Minor 65 

Modulation  and  Inversions 68 

Modulation  to  Sub-Dominant  and  re- 
turn to  Tonic  Major  or  Minor.  . .71 
Modulation  in  Four-Part  Harmony  . . 81 
Modulation  to  Next  Related  Keys.  . . 83 
Modulation  by  Change  of  Mode.  ...  84 

Melodic  Transposition 91 

Next  Related  Keys 82 

Non-Harmonic  Tones 88 

Octaves,  Ninths  and  Tenths 29 

Octaves  and  Seconds 30 

Octaves 46 

Open  Harmony 88 

Primes 18 

Principal  Triads 47-48 

Principal  Triads  in  Minor 50-56 

Rhythm 12 

Solfeggio 6 

Seconds 18 

Sixths 25-44 

Sixths  and  Seconds 26 

Sevenths 27-45 

Sevenths,  Sixths  and  Seconds  ....  28 

Subordinate  Triads 71 

Thirds 19-37 

Thirds  and  Seconds 20-36 

Triads  of  Major  Scale 41 

Triads  of  Minor  Scale 42 


IN 


Solfeggio,  Ear=Training  and  General  Sight=Reading. 


LESSON  I. 

Solfeggio  is  the  study  of  tones.  Ear-training  is  the  development  of  the  power 
to  produce  any  tone  at  will  and  to  recognize  the  same  when  heard.  Sight-reading 
is  the  ability  to  hear,  mentally,  the  tones  of  a musical  composition,  as  they  are  rep- 
resented in  notes  on  the  staff,  by  looking  at  them,  as  one  reads  a book  and  without 
appealing  to  the  ear.  It  is  the  province  of  Solfeggio  and  Ear-training  to  make 
Sight-readers.  Sight-reading  finds  its  practical  application,  for  the  vocalist,  in 
sight-singing,  for  the  instrumentalist,  in  sight-playing. 

Tones  may  be  presented  to  the  mind,  through  the  eye  by  means  of  the  notes  on 
the  staff  or  through  the  musical  instrument  with  which  one  is  most  familiar,  as 
when  one  looks  at  the  key -board  of  a piano  or  organ  and  imagines  the  tones  which 
may  be  there  produced. 

The  English  speaking  world  has  adopted  at  least  two  sets  of  names  for  tones: 
the  letters  C,  D,  E,  F,  G,  A,  B,  and  the  numbers  1,  2,  3,  4,  5,  6,  7.  The  letters  tend 
to  individualize  the  tones:  the  numbers  to  relate  them.  It  is  the  collection  of  seven 
tones  called  the  major  scale,  and  not  any  single  tone  thereof,  from  which  has  arisen 
the  vast  whole  of  music  as  known  to  the  civilized  world;  therefore  the  numbers, 
which  represent  the  relation  of  tones,  ( the  letters  represent  individual  tones  with- 
out regard  to  their  relation  to  other  tones ),  are  most  important  and  far-reaching  in 
their  usefulness  to  the  musician. 

Tones  are  also  definitely  named  with  reference  to  their  individuality  and  the 
depth  or  acuteness  of  their  pitch  as  follows:  Beginning  at  the  tone  called  middle-C 

of  the  piano-forte,  that  tone  and  the  six  tones  immediately  above  it  constitute  the 
one-lined  group  and  are  marked  thus: 


Fig. 


c,  d,  e,  f,  g,  a,  b. 


The  seven  next  higher  notes  constitute  the  two-lined  group  and  are  marked  thus: 

^ -cZ- 


Fig.  2.  jp 


(5- 


-GL- 


c,  d,  e,  f,  g,  a,  b. 


and  so  on  each  higher  group  of  tones  adding  a line  thus:  the  three-lined  group,  the 
four-lined  group,  etc.  The  seven  tones  immediately  below  middle-C  constitute  the 
small  group  and  are  marked  thus: 


Copyright,  1897,  By  the  New  England  Conservatory  of  Music. 


6 


GENERAL  SIGHT-READING. 


Fig 


22: 


-G- 


-Z7 <g~ 


-<S>- 


_<2_ 


or  c,  d,  e,  f,  g,  a,  b. 


c,  d,  e,  f,  g,  a,  b. 

The  seven  next  lower  tones  constitute  the  great  group  and  are  marked  thus: 


Fig, 


.4 


& ~zr  ^ 


^ « ^ 

C,  D,  E,  F,  G,  A,  B. 

The  seven  next  lower  tones  constitute  the  contra  group  and  are  marked  thus: 


Fig.  5. 


9* 


Sr 

-G- 

-3T 

•G- 

-2T 

- G - 

TSr 

0, 

D, 

E, 

F, 

A, 

B. 

The  seven  next  lower  tones  constitute  the  sub-contra  group  and  are  marked  thus: 

C,  D,  "E,  ¥,  G,  A,  B. 

The  following  example  represents  these  tones  as  they  appear  on  the  staff.  Study 
them  at  the  staff  and  at  the  key-board  until  each  tone  can  be  readily  written 
or  played. 


Fig.  6. 


ill  Group, 

e f g a b 


-g- 


-g- 


zg 


-G 


-G- 


G 


c1  d1  e1  f1  g1  a1  b1 

One-lined  Group. 


s: 


-G- 


Z&Z 


-G 


-G- 


c2  d2  e2  f2  g2  a2  b2 

Two-lined  Group. 


GENERAL  SIGHT-READING. 


7 


LESSON  II. 


The  seven  tones  of  the  scale  have  also  their  harmonic  names,  as  follows: 
One,  the  Key-note  or  Tonic. 

Two,  the  Super-tonic. 

Three,  the  Mediant,  ( midway  between  Tonic  and  Dominant ). 

Four,  the  Sub-dominant. 

Five,  the  Dominant,  ( dominating  tone ). 

Six,  the  Sub-mediant,  (midway  between  Sub-dominant  and  Tonic). 
Seven,  the  Leading-tone.  Thus: 


Fig. 


Tonic,  Super-tonic,  Mediant,  Sub-dominant, 


70 

A _ . ..  . . . .. 

J & 

* S’  G 

12  3 4 


Dominant, 


Sub- mediant, 


(T 


Leading-tone. 


7 


Memorize  these  names  in  connection  with  the  numbers  so  that  the  harmonic 
name  can  be  instantly  given  when  the  number  of  any  tone  is  mentioned. 

The  tones  of  the  scale  have  also  certain  natural  tendencies  or  characteristics 
which  are  divided  into  two  classes:  Active  tones  and  inactive  tones.  1,  3,  and  5 

are  the  inactive  tones;  2,  4,  6,  and  7 are  the  active  tones.  To  remain  at  rest  is  the 
characteristic  of  the  inactive  tones,  to  move  into  a condition  of  rest  is  the  charac- 
teristic of  the  active  tones.  The  following  example  is  a clear  illustration  of  these 
characteristics. 

Active.  Inactive. 


Play  these  tones  on  the  piano  and  notice  how  naturally  7 moves  to  1;  2 to  1;  4 to  3 
and  6 to  5.  From  this  it  appears  that  1,  3,  5 are  the  tones  which  mark  or  establish 
the  key.  The  ability  to  produce  the  seven  tones  of  the  major  scale  with  the  voice 
in  any  order  whatsoever,  (the  key  having  been  established),  and  to  recognize  them 
when  heard,  marks  the  accomplishment  of  the  first  requirement  in  genuine  music- 
ianship. To  gain  this  point  the  earnest  student  should  bend  every  energy. 


8 


GENERAL  SIGHT-READING. 


LESSON  III. 

Sing  the  tones  represented  by  the  following  series  of  numbers  until  each  series 
can  be  correctly  and  rapidly  sung.  The  practice  of  these  exercises  should  be  first 
done  without  regard  to  time,  but  when  certainty  of  intonation  is  acquired  they 
should  be  practiced  with  a metronome  thus: — where  there  are  two  or  more  numbers 
in  a measure  sing  one  sound  to  each  tick;  where  there  is  but  one  number  in  a mea- 
sure sustain  the  sound  thus  represented  through  two  or  more  ticks  according  to  the 
form  of  measure  indicated  by  the  large  figure  at  the  beginning  of  the  exercise  called 
the  time  signature. 

Use  the  piano  only  in  getting  the  pitch  of  the  first  sound  and  for  testing  a tone 
now  and  then  by  striking  the  same  immediately  after  it  has  been  sung.  When  the 
exercise  is  written  in  any  key  except  C-major  it  should  be  spelled,  before  it  is  sung, 
by  speaking  aloud  the  name  of  the  key  on  the  piano  which  is  represented  by  each 
number  of  the  exercise.  This  practice  should  be  unremittingly  continued  until  the 
tone  of  any  number  in  any  major  key  can  be  instantly  named.  After  an  exercise 
has  been  learned  with  the  voice,  it  should  be  practiced  on  the  piano  in  time  with  the 
metronome,  but  in  no  case  should  this  practice  precede  the  singing. 


Exercise  1. 


Ex.  2. 


IN 


2 

Ex.  3. 


La- 


L 

1 

7 1 

7 

l 7 

7 

h | 

rn 

. 6 

-«  * 

I 

s: 

2 

a 4 

_ 

L_ 

4 a 

1 

-7 s h-7- 


m 


•g 


— 3- 


Ex.  4. 


— 3 


.2 


1! 


Ex.  7. 


*-2-i 


'6  rzs: 


Ex.  9. 


-ft-2— T- 


1 

1 

1 

« -v 

Ex.  10. 


1 V rfu-^tT 

L 

1 

1 ' 'tT  t'fc 

r e,  6 

I 

1 ^ ‘ ^3 

n 4 

i>  4 

I 

1 v )y  i 2 

J 

+ L 

3 2 

1 

M. 


Ex.  11 


9 i-2- 


— a 


— &- 


m — *- 


if if 


M, 


Ex.  12. 


C-S.- 


M 


Ex.  13. 


Pp 


a 


15 L 


Ex.  14. 


1 

1 

1 

1 

5 

3 

3 

3 

3 

3 4 

3 

3 

1 

1 

J 

1 

Ex.  15. 


l 


LESSON  IV. 


s: 


6 


3 


ml 


Ex.  17. 


10 


GENERAL  SIGHT-READING, 


Ex.  20. 


Ex.  21. 


Ex.  22. 


Hr 

n 

-I 

*J 

ft 

L~J?— T a- 

L_h_t_ 

^ T 

La '4— 

a — 

a — 

5 4 

LESSON  V. 


Ex.  24. 


Ex.  25. 


JjLjllJp-L 

FI 

MW*  * , ■ 

H*  5 

2 

7 

— t — 

6 

a 

7 

-c  E*  J 
6 

Ex.  26. 


-O 

T 

1 

6 

IQl a — 

■f 

- 

Ex.  27. 


GENERAL  SIGHT-READING, 


11 


Chorals. 


Ex.  28. 


12 


GENERAL  SIGHT-READING. 


LESSON  VI. 
Rhythm. 


Rhythm  is  the  systematic  grouping  of  sounds  with  regard  to  their  duration. 
This  grouping  is  marked  by  the  difference  in  force  with  which  each  sound  is  pro- 
duced called  accent.  By  means  of  accents  these  groups  are  made  of  equal  duration 
which  duration  is  called  time.  When  expressed  in  notes  these  groups  are  called 
measures.  As  the  musical  unit  is  the  scale  so  the  rhythmical  unit  is  the  contrast 
between  two  or  three  accents  or  the  simple  form  of  measure.  The  strong  accent 
should  mark  the  beginning  of  a measure.  The  beat,  or  any  note  which  represents 
it,  is  the  time  unit. 


There  are  but  two  varieties  of  simple  measure  in  common  use:  duple  and  triple, 
called  also  two-part  measure  and  three-part  measure.  See  Figures  8,  9,  10.  All 
larger  forms  of  measure  are  compounded  from  these  and  have  as  many  strong  ac- 
cents as  there  are  simple  measures  used  in  constructing  the  larger  measure;  thus: 
four-part  measure  is  compounded  from  two,  duple  measures  and  has  an  accent  on  the 
first  and  third  beat.  See  Figure  11.  Six-part  measure  is  compounded  from  two 
triple  measures  and  has  an  accent  on  the  first  and  fourth  beats,  etc.  See  Figure  12. 
Thus  all  forms  of  measure  are  divided  into  two  classes,  simple  and  compound. 

The  upper  figure  of  the  time-signature  always  indicates  whether  the  measure  is 
simple  or  compound.  The  lower  figure  indicates  the  kind  of  note  which  represents 
one  beat  and  the  composer  can  select  any  kind  he  chooses  but,  having  selected,  he 
must  make  all  the  measures  of  his  composition  correspond  arithmetically  to  this 
standard.  Thus: 


Fig.  8. 


Fig.  9. 


Fig.  10. 


A 


2r 


& 


J J 

1 — 1 

* 4 

acc. 

acc. 

1 1 

J 

1 

* 

acc. 

acc 

:/ 

r 

* 

R 

0 4 

acc. 

acc. 

0 0 0 0 

acc. 


I 1 1 1 

# # 0 * 


etc. 


i 4 4 4 

444444444444 

acc. 


R R 


• * 


f * 0 0 0000  *4*4 


acc. 


etc. 


etc. 


\ 


Fig.  11. 


* 


orE  J J J-J 


acc.  acc. 


n n n n i _,=^=  j™  j™ 

acc. 


etc. 


acc. 


acc. 


acc. 


GENERAL  SIGHT-READING. 


13 


Fig.  12.  -fi- 

-8- 


Fig.  13. 


acc. 


m * • 


4 4 4 4 


4 4 4 


etc. 


% 


acc. 

acc. 

acc. 

m 

m 

1 M M Is 

P*PIPP-PP 

hh-fii  h-r- 1 'i 1 'i  i 1 

0 04 

444 

4 4 4 4 4 4 

040004  004444 404000 

etc. 


Fig.  14. 


■S  4 * 4 


I I 


4 4 4 4 4 4 


I i i 

4 4 4 


4 


h I 

4 4 


r i 

4 4 


h I f' 

4 4 4 


etc. 


In  case  the  voice  or  instrument  is  silent  for  a part  of  a measure  or  measures, 
that  silence  must  be  expressed  in  rests  which  shall  sustain  the  value  established  by 
the  time  signature. 

In  case  an  entire  measure  is  silent,  then  the  whole,  or  measure  rest,  may 
express  that  silence  regardless  of  the  time  signature. 

Study  Ex’s.  147,  148,  Solfeggio  Book  No.  2 as  follows:  Say  the  numbers  in  strict 

time  with  the  metronome  first  at  J — 60  but  increasing  the  speed,  as  practice  gives 
facility,  until  a perfectly  clear  and  smooth  performance  can  be  given  with  the  me- 
tronome at  J — 144.  After  this  degree  of  facility  is  attained  they  may  be  sung  with 
the  metronome  at  J — 80.  Study  Ex’s.  149  to  156  in  the  same  manner.  Study 
Ex’s.  1 to  30  with  special  reference  to  the  duple  rhythm  which  they  illustrate.  Ac- 
cent slightly  the  first  sound  in  each  measure. 

Ex’s.  31  to  43;  53  to  61,  etc.  illustrate  triple  rhythm  in  connection  with  a still 
closer  study  of  the  individual  tones  of  the  major  scale.  Study  these  exercises  first, 
with  reference  to  correct  intonation,  according  to  the  directions  given  for  the  study 
of  Ex’s.  1 to  30,  (See  Lesson  III),  then  study  them  with  special  regard  to  the  rhythm, 
accenting  slightly  the  first  note  in  each  measure. 


14 


GENERAL  SIGHT-READING, 


Ex.  31. 


\J  _ 1 

/ •) 

. 

rm 

Si 

o 3 ,, 

— « 3 „ 

Ex.  32. 


Ex.  35. 


Ex.  36. 


1 

- 1 

1 

IZStl 

, ^ 6 

1 

Si- .. 3 

± 5 

1 

Ex.  37. 


GENERAL  SIGHT-READING, 


15 


n 

Ex.  47. 

IQIi 

a 

7ZS  TTii 

P T 

4 3 

7 


i- 


5. 


* 


16 


GENERAL  SIGHT-READING. 


LESSON  VII. 


Ex.  52. 


J 2 

— 

1 

e 1 

rr 

V a 4 

_4 

4 

& 4 ~ 1 

2 * i f 

1 * 

— t 

9 1 

Ex.  53. 


rfi — rb 

— 

— 

i/Lb-k  Q 

« 

6 

6 

4 4 

4 4 

* 

Ex.  54. 


Ex.  56. 


* Q-, 

- 

T 

1 

.yLf>  k-Q  x *s 

6 

1 

Iffy  t * '*  4 ” 

4 4 

4 4 

4 4 

I 

v y x 

~4-l 

Ex.  57. 


3 

4 4 

4 

n 

•far  vf  * - 

4 

7 

7 

7 4— 

Ex.  58. 


--  -- 

4 4 

4 

4 1 

4 | 

tf  4 7 - r 

iu2  6 

u 

0 0 

b 1 

Ex.  59. 


GENERAL  SIGHT-READING, 


17 


Ex.  60. 


ittp 

r | 

7 7 

7 7 

* P 

££  * 4— 

L 4 

4 

4 

4 

tzzzl 

Ex.  61. 


r i 

ft 

0 ft 

1 

1 

1 

Ex.  62. 


Ex.  63. 





5. 


lzi: 


-&■ 

Ex.  64. 


rl- 


li: 


I 


7 7- 


'6  6" 


r Cl. 


"5“ 


_5: 


Ex.  65. 


— 5~ 


. 6 I * 6 

1 1 1-t^. l 


rt 

T 1 

L 1 

O 6 _ 

6 

6 

6 

N 

t) 

1 

s; 

Z. J 

L+ — ^ 

^ i 

.2  2 

-+  1 

18 


GENERAL  SIGHT-READING. 


LESSON  VIII. 

Intervals.  Primes. 

The  lines  and  spaces  on  the  staff,  are  called  degrees.  The  association  of  any 
two  tones  is  called  an  interval.  Intervals  receive  their  general  names  from  the 
number  of  degrees  which  they  occupy  on  the  staff.  Thus:  Two  tones  on  the  same 
degree  form  the  interval  called  a perfect  prime.  Thus 


— & g 

or 


Seconds. 

Two  tones  on  two  contiguous  degrees  form  the  interval  of  a second.  Thus: 


Fig.  16. 


§E 


jO- 


or 


Two  tones  occupying  three  degrees  (counting  the  intervening  degree)  form 
the  interval  called  a third,  as: 


Fig.  17 


■s= 


(9 


or 


Fig. 


Fig. 


An  examination  of  the  series  of  tones  found  in  Fig.  18  discloses  the  fact  that 
the  well  known  major  scale  is  composed  of  seconds.  A closer  examination  proves 
that  these  seconds  are  not  all  alike;  that  the  seconds  formed  by  the  3rd.  and  4th. 
and  7th.  and  1st.  tones  are  only  half  as  large  as  the  other  seconds  in  the  scale,  Fig.  19. 
The  difference  in  the  seconds  produces  a corresponding  difference  in  all  the  other  in- 
tervals; this  fact  will  become  more  evident  as  each  variety  of  interval  comes  up  for 
study.  The  smaller  seconds,  those  between  3 — 4 and  7 — 1,  are  called  minor  sec- 
onds; the  larger  seconds,  those  between  1 — 2,  2 — 3,  4 — 6,  5 — 6,  6 — 7 are  called 
major  seconds. 

Write  out  a major  scale  from  c,  g,  d,  a,  e,  b,  f#  and  arrange  the  minor 
seconds  in  each  scale  between  3 — 4,  7 — 1 by  the  use  of  sharps  placed  before  each 
tone  which  must  be  raised.  Write  out  a major  scale  form  f,  b>,  e>,  a>,  d?,  g i>, 
and  arrange  the  minor  seconds  between  3 — 4,  7 — 1 by  the  use  of  flats  placed 
before  eacli  tone  which  must  be  lowered. 

LESSON  IX. 

Write  Ex.  7 of  Solfeggio  Book  No.  1 in  each  of  the  above  mentioned  keys,  in 
both  the  G and  F clefs,  and  from  the  same  starting  point,  (tonic).  Care  should  be 
taken  to  preserve  the  same  form  of  time  and  the  sharps  or  flats  should  now  be 
placed  in  tbe  signature. 


GENERAL  SIGHT-READING. 


19 


Recite  these  exercises  by  number  in  monotone,  in  time  with  the  metronome  at 
J — 72  and  play  them  with  both  hands  while  thus  reciting.  Sing  also  as  many  as 
come  within  the  compass  of  the  voice  using  the  syllable  Loo  or  La.  When  singing 
take  the  pitch  of  one  from  the  instrument  and  compel  the  ear  to  judge  of  the  tune- 
fulness of  each  interval  as  it  is  sung.  The  instrument  may  be  heard  again  at  the 
octave  and  at  the  return  to  one  in  order  to  prove  the  work. 

LESSON  X. 

Study  Ex.  8 in  the  Solfeggio  Book  No.  1 as  follows:  Recite  the  numbers  in 
monotone  several  times  with  the  metronome;  ( J — 72  ),  then  play  it  with  two  hands 
while  reciting;  then  sing  it  according  to  previous  directions;  then  spell  the  exercise 
as  it  would  be  played  in  the  key  of  C-major  in  time  with  the  metronome;  then  play 
it  in  that  key  with  two  hands  and,  at  the  same  time,  recite  the  numbers;  the  same 
exercise  should  also  be  spelled  and  played  in  several  other  major  keys. 

Study  Ex’s.  9 to  17  of  the  Solfeggio  Book  No.  1 in  like  manner  until  these  exer- 
cises can  be  played  as  readily  in  one  major  key  as  in  another. 


LESSON  X*. 

Thirds. 

An  interval  which  occupys  three  degrees  of  the  staff  is  called  a third.  In  Fig. 
20  the  scale  of  C-major  is  divided  into  thirds  by  means  of  the  slurs  above  the  notes; 
the  smaller  slurs  under  the  notes  mark  the  two  minor  seconds  between  3 — 4.  and 

7 — 1. 


A careful  inspection  will  show  that  some  of  the  thirds  include  one  of  these  mi- 
nor seconds  and  others  do  not;  it  is  evident  from  this  fact  that  the  thirds  which  do 
not  include  one  of  the  minor  seconds  are  larger  than  the  others:  the  larger  thirds 
are  formed  by  the  tones  1-3,  4-6,  5-7,  (See  Fig.  21)  and  are  called  major  thirds. 


Fig.  21. 


t 


— &- 


:tz a: 


-(2- 


-<5>- 


The  smaller  thirds  are  formed  by  the  tones  2 - 4,  3 - 5,  6 - 1,  7 - 2,  ( See  Fig. 
22 ) and  are  called  minor  thirds. 


Fig.  22. 


Memorize  these  in  both  the  ascending  and  descending  order  and  note  the  fact 
that  it  is  the  presence  or  absence  of  the  minor  seconds,  3 - 4 & 7 - 1,  which  makes 
the  difference  in  the  thirds,  ( See  Fig’s.  21  & 22  ). 

Analyze  Ex’s.  72  & 73  until  each  number  and  interval  is  recognized  at  a glance; 
sing  them  until  intonation  and  rhythm  are  correct;  spell  them  in  the  key  of  G-ma- 
jor;  play  them  in  this  key  with  two  hands  and  recite  the  numbers  while  so  doing. 
Spell  and  play  them  in  all  other  major  tonalities  which  have  their  tonics  on  the 
white  keys;  write  them  out  in  all  major  tonalities  which  have  their  tonics  on  the 
black  keys;  write  the  proper  fingering  and  play  them  in  each  of  these  keys. 


20 


GENERAL  SIGHT-READING. 


Thirds  and  Seconds. 

Ex.  72. 


/ila 

A 

i i 

— 

/ / ^ _j 

_j / 

i | 

1 V 

1 

I Cfc.-A.  -4  J 

_j 

_|  ^ 

J J 

! 

is- 

1 _ 

1 X IZ^F  J H 

^ 

2 

# 

d w 

r : ' * 

' * 2 

0 w. 

I O J J 

. __4 

-- 

1 T--  J 

(2 

C f 

a 9 

0 i 

9 0 

l 7 ■«  » • 

(2 

_)_  * 

_ t 

h = 

r h 

\ \ 

-4- 

4—4— 

—i— 

4 r - 

Ex.  73. 


-#21 


-& — 
P 


q=: 


tf=p=r 


— i — 

2 

^ ■■ 

— 

— 

t-  *- 

rr 


=t= 


♦ ^ -*■  ^ ^ 


:b=|: 


=f=R 


4=i=±=r- 


19- 


’PI 


-• r 


* « 


-h-^ — I- 


=4^=3  -j3Li|-|_^=3 


=t 


e=q=?c= 


t=T 


(5 — 

=F=3 


-«? — 


=4 

-- 

9 

— 

f==3=F 


GENERAL  SIGHT-READING. 


21 


LESSON  XII. 

Fourths. 

An  interval  which  occupys  four  degrees  of  the  staff  is  called  a fourth.  In  Fig. 
23  the  scale  of  C-major  is  divided  into  fourths  by  means  of  slurs  above  the  notes,  the 
minor  seconds  of  the  scale  are  marked  by  the  slurs  beneath  the  notes. 


It  will  he  seen  that  all  the  fourths,  except  that  formed  by  the  tones  4 and  7, 
contain  one  of  the  minor  seconds;  these  are  called  perfect  fourths;  the  fourth  from 
4 to  7 contains  neither  of  the  minor  seconds,  it  is  therefore,  larger  than  the  perfect 
fourths  and  is  called  an  augmented  fourth.  When  reduced  to  seconds  the  perfect 
fourths  will  be  found  to  contain  two  major  seconds  and  one  minor  second;  the  aug- 
mented fourth  contains  three  major  seconds.  The  perfect  fourths  are  formed  by 
the  tones  1-4,  2-5,  3-6,  5-1,  6-2,  7-3. 


The  augmented  fourth  is  formed  by  the  tones  4-7,  the  two  most  active  tones 
of  the  scale,  the  4 having  a strong  tendency  to  move  to  3 and  the  7 to  1. 


Fig.  25. 


(See  also  Lesson  II.) 


Memorize  these  fourths  in  both  the  ascending  and  descending  order  and  again 
note  the  fact  that  it  is  the  presence  or  absence  of  the  minor  seconds  3-  4 & 7 - 1 
which  makes  them  differ. 

Study  Ex’s.  74  & 75  exactly  according  to  the  directions  for  Ex’s.  72  & 73. 


22 


GENERAL  SIGHT-READING, 


Fourths,  Thirds,  Seconds. 


Ex.  74. 


d- 


F- 

f=£ 


A±1 

zb 

1 

1 

• _ 

1 

s • 

s^r 

* i 

_ | 

S'  * 

J a a 

tr  t 

* r 

r 

'frr\ 

r ^ 

S'  • 

A 

r 

r r 

- * 1 

l vP 

1 

'O'  • 

1 1 

1 

r 

1 L 

1 

# ■ 

r 

_<2 

' ‘Tirb-F— 

2* 

-r 

L 

. 1 

. 

r 

1 — H 

1 

f 

| 

I 

T> 

A, 

! 1 

I 

A 

- i 

i 

Ex.  75. 


GENERAL  SIGHT-READING. 


23 


LESSON  XIII. 

Fifths. 

An  interval  which  occupy s five  degrees  on  the  staff  is  called  a fifth.  In  Fig.  26 
the  scale  of  C-major  is  divided  into  fifths  and  the  minor  seconds  of  the  scale  marked 
as  before. 


It  is  here  seen  that  all  the  fifths,  except  that  from  7 up  to  4,  contain  three  ma- 
jor seconds  and  one  minor  second;  these  are  called  perfect  fifths.  The  fifth  from  7 
up  to  4 contains  two  major  and  two  minor  seconds,  therefore  it  is  smaller  than  the 
perfect  fifths  and  is  called  a diminished  fifth.  The  perfect  fifths  are  formed  by  the 
tones  1 - 5,  2 - 6,  3 - 7,  4 - 1,  5 - 2,  6 - 3. 


The  diminished  fifth  is  formed  by  the  tones  7-4,  the  two  most  active  tones  of 
the  scale  which  exhibit  a strong  tendency  to  move  to  the  state  of  rest  found  in 
1-3.  (See  Fig.  28). 


Fig.  28. 


Memorize  these  fifths  in  both  the  ascending  and  descending  order  not  neglecting 
to  note  that  the  difference  in  the  size  of  the  fifths  is  produced  by  the  minor  seconds 
3 — 4,  & 7 — 1. 

Analyze,  sing,  spell,  play,  write  and  finger  Ex’s.  76  & 77  according  to  the  di- 
rections for  Ex’s.  72  & 73. 

The  most  common  form  of  compound  measure  is  here  introduced;  viz.  four-part 
measure  compounded  from  two,  two-part  measures  which  are  marked  by  an  accent 
on  the  first  beat  called  the  primary  accent  and  another,  a trifle  less  marked,  on  the 
third  beat,  called  the  secondary  accent. 


24 


GENERAL  SIGHT-READING, 


Fifths,  Fourths,  Seconds. 


Ex.  76. 

4.  i__4_4=^y=ij 

♦ * -rS'- 


~75T 


v *•- 


=t= 

\-& — i- 

S- 


^ 4 «— 


^==? 


t=sg_.r.  l...  i_ 


</ !— P^-5-}-^— 4-^— *-PfS2 L 


. 


~a*  '—r&i 

~Z? 


,i 


:ri=«=*t^-4 

-# * (5*— 1 - 


=1 


i=H=1=±l 


«— *— * 


E-®-4— i 


t=£ 


0—? 


t— f2= 


# * 


F=t= 


fc: 


^dbt 


H- 


=L*-* 

:^=^=l==t=^ 


(- 1 

1 & 


& 


- 

M — 0 — m- 

:f==f== 


-g> |— -zJ 


=3-4 


— 


-(SL 


=t= 


t=^I 


P±==t=« 


^5 


<5  * - 

- I 


Ex.  77. 


GENERAL  SIGHT-READING. 


25 


LESSON  XIV. 


Sixths. 

An  interval  which  occupys  six  degrees  on  the  staff  is  called  a sixth.  Sixths 
which  contain  but  one  of  the  two  minor  seconds  found  in  the  major  scale  are  called 
major  sixths.  Fig.  31.  Sixths  which  contain  both  are  called  minor  sixths.  Fig.  32. 


Inversion  of  Intervals. 

A comparison  of  Fig’s.  25  & 28  discloses  the  fact  that  the  augmented  fourth 
and  diminished  fifth  are  composed  of  the  same  tones  but  in  a varying  order;  4 up  to 
7 forming  the  augmented  fourth;  7 up  to  4 forming  the  diminished  fifth.  This  re- 
veals the  law  that  augmented  intervals  when  inverted  become  diminished  intervals 
and  vice  versa.  A further  comparison  of  Fig’s.  25  & 28  shows  that  the  two  intervals 
come  to  a state  of  rest  in  the  same  tones  but  also  in  a varying  order;  the  augmented 
fourth  moves  to  3 - 1 in  the  form  of  a sixth;  the  diminished  fifth  moves  to  1-3  in 
the  form  of  a third.  Thus  a major  third  when  inverted  becomes  a minor  sixth  and 
a minor  sixth  when  inverted  becomes  a major  third;  This  also  reveals  the  law  that 
inversion  makes  major  intervals  minor  and  minor  intervals  major.  The  minor  sec- 
onds 3 - 4 & 7 - 1 are  again  the  cause  of  these  differences  in  the  size  of  the  intervals. 
As  shown  in  Fig.  29  the  augmented  fourth  contains  neither  of  these  minor  seconds 
while  the  diminished  fifth  contains  both.  So  also  the  major  third  contains  neither 
3 - 4 or  7 - 1,  while  both  of  them  are  found  in  the  minor  sixth.  Fig.  30. 


The  major  sixths  are  formed  by  the  tones  1 - 6,  2 - 7,  4 - 2,  5 - 3. 


Fig. 31. 


The  minor  sixths  are  formed  by  the  tones  3 - 1,  6 - 4,  7 - 5. 
Fig.  32. 


Memorize  the  sixths  in  both  the  ascending  and  descending  order.  A compari- 
son of  Fig’s.  22  & 31,  21  & 32  will  show  that  the  same  tones  which  form  the  thirds 
are  used  to  form  the  sixths,  but  in  inverse  order.  If  the  thirds  have  been  well 
committed  to  memory  the  sixths  will  he  quickly  learned. 

Study  Ex’s.  78  & 79  in  the  same  manner  and  in  all  the  varied  forms  (Analysis, 
singing,  spelling,  writing,  etc.)  mentioned  in  the  directions  for  the  fore-going  Ex’s, 
in  intervals. 


26 


GENERAL  SIGHT-READING, 


Sixths  and  Seconds. 


Ex.  78. 


Ex.  79. 


ipfr-r 

— 1 

d : 

+— 

-i-i 

^ a 

i 

1 

f 

i 

I p a 

0 J 

y < 

f 

m j - _J. 

_L  _ b 

r - 0 

m • J 

nj  1 1-  ^ • * 

I ..  ,1-f2-  , 

2 1 

m 

r 

r 0 m 

r i 

T 

# m 

E ) •"/  ^ f 

' 

^ w 

(?  • 

^ f 

r * - 

V / a 

I 

a 

V +f 

1 1 

=3= — 

1 — 

GENERAL  SIGHT-READING. 


27 


LESSON  XV. 

Sevenths. 

An  interval  which  occupy s seven  degrees  on  the  staff  is  called  a seventh.  Sev- 
enths which  contain  but  one  of  the  two  minor  seconds  of  the  major  scale  are  called 
major  sevenths.  Sevenths  which  contain  both  are  called  minor  sevenths.  The 
major  sevenths  are  formed  by  the  tones  1-7,  4-3;  the  minor  sevenths  are  formed 
by  the  tones  2-1,  3-2,  5-4,  6 - 5,  7 - 6. 

Fig.  33. 


Major. 

Minor. 

Minor. 

--Q-  

_ ^ 

m * ^ 

■/m  m 9 G 

_ # * 9 - 

_ 9 9 9^ 

m 9 * 

0 

& -- 

Major.  Minor. 


5 m3 — ^ l—  m 0 3 

r — - jf  9 L ---  ~ <9  __  __ m ^ 

'jn 

N O w " ^ 9 

7 9 L ^ 

r- 

A comparison  of  Fig’s.  1!)  & 33  will  show  that  sevenths  are  the  inversion  of 
seconds;  keep  this  fact  in  mind,  while  memorizing  the  sevenths,  as  an  assistance  to 
the  memory. 

Study  Ex.  80  according  to  the  previous  directions. 


28 


GENERAL  SIGHT-READING. 


Sevenths,  Sixths,  Seconds. 

Ex.  80. 


/_  Q , b U jg  ..  __  __ 

1 

__i  aj 

- 

— 1 

1 /L5  i 

1 L 

. 

q i 

i 1 J 

1 a > 

1 1 

e>l  , 

■ vi7  ^ i n rq  ^ 

m 9 

-j 

q J • 9 

-?&  9 ~gr 

q 

m 

(2.  _ 

q q 

m m 

i 1 

l b i.  trk#  1 n 

9 P 

-t i 

J 

m 9 - T- 

h q 

m * 

L L 

iQ 

\ 9-\t  ^ & 

□ f ! — 

1 a 

tt=— 1=— t— = 

— =fc=tF 


M- 


GENERAL  SIGHT-READING. 


29 


=j=j=H= 


4=F=i 


-ztz.— 


d==F 

Y& — g*- 


=± 


S' 


• -*- 


« • # 

l=t= 


H I— 

t^zztz 


LESON  XVI. 


Octaves,  Ninths,  Tenths. 


An  interval  which  occupys  eight  degrees  on  the  staff  is  called  an  octave.  All 
the  octaves  of  the  major  scale  are  of  the  same  kind,  ( because  each  one  contains  the 
two  minor  seconds ),  and  are  called  perfect  octaves.  A comparison  of  Fig’s.  15  & 
34  will  show  that  octaves  are  the  inversion  of  primes. 


Fig.  34. 


Sing  Ex.  81  with  careful  attention  to  both  intonation  and  rhythm.  Play  it  in 
all  major  keys. 


30 


GENERAL  SIGHT-READING. 


Ex.  81. 


Octaves,  Seconds. 


Intervals  larger  than  an  octave  are  also  named  from  the  number  of  degrees  they 
occupy  on  the  staff.  An  interval  occupying  nine  degrees  is  called  a ninth;  one  oc- 
cupying ten  degrees,  a tenth  and  so  on. 


Fig.  35. 

Ninths.  Tenths. 


It  will  be  seen  from  Fig.  35  that  these  intervals  are  formed  by  the  addition  of  a 
second  or  a third  etc.  to  an  octave.  Write  out  all  the  ninths  and  tenths  in  all  major 
keys  after  the  model  given  in  Fig.  35. 


GENERAL  SIGHT-READING. 


31 


LESSON  XVII. 

The  Minor  Mode. 

Only  the  major  mode  and  its  intervals  have  been  hitherto  considered;  in  so  do- 
ing the  important  functions  of  the  two  minor  seconds  of  the  scale  have  been  fully  s 
demonstrated.  Not  only  are  they  necessary  to  the  major  scale  but  they  must  occur  . 
at3-4&7-lor  the  scale  looses  its  major  character.  When  they  are  found  at  any 
other  point,  the  scale  becomes  so  changed  in  its  effect  as  to  necessitate  a new  name. 

A scale  played  on  the  white  keys  of  the  piano-forte  from  a to  a1  will  place  the 
minor  seconds  between  2 & 3,  5 & 6 and  will  illustrate  the  effect  produced  by  the 
changed  position  of  minor  seconds;  it  will  also  furnish  a basis  for  the  study  of  the 
minor  mode. 


Fig.  36 


■m 


-J21 


(S 


-O.- 


This  scale  is  called  minor  because  its  inactive  tones,  1-3-5,  which  establish 
the  key,  form  a minor  chord  in  distinction  from  the  major  chord  formed  by  the 
tones  1 - 3 - 5 of  the  major  scale. 


Fig.  37. 
A Minor. 


m 


¥ 


Minor  3d. 
A Major. 


& 


-Si- 


Major  3d. 


-rS- 


Major  3d. 


Minor  3d.  ^ 


a. 


-O- 


It  is  called  the  pure  minor  in  distinction  from  other  forms  of  the  minor  scale 
which  are  derived  from  it.* 

Write  a scale  from  a,  e,  b,  fjf,  cjf,  gjf,  djf,  e?,  b>,  f c,  g,  d. 

Use  no  signature  and  make  the  minor  seconds  come  between  2-3  and  5-6,  by 
the  use  of  the  proper  sharps,  or  flats. 

This  having  been  done  with  care,  count  the  number  of  different  sharps  or  flats 
in  each  scale  and  place  them  in  their  proper  position  for  a signature;  This  will  dis- 
close the  fact  that  certain  major  and  minor  scales  have  the  same  signature.  Write 
a minor  scale  from  each  of  the  above  mentioned  tones;  Write  the  major  scale,  hav- 
ing the  same  signature,  immediately  under  it,  (after  the  model  in  Fig.  38).  and 
mark,  with  a slur,  the  minor  seconds  in  each  scale. 

Notk:— *(  The  terms  major  and  minor  have  come  to  indicate  the  difference  in  the  consonant  effects 
produced  by  the  two  chords  as  well  as  the  difference  in  the  size  of  the  intervals  of  which  the  chords  are 
composed.  See  Fig.  37). 


32 


GENERAL  SIGHT-READING. 


Major  and  minor  scales  having  the  same  signature  are  said  to  be  relative:  viz. 
O-minor  is  the  relative  minor  of  E major  etc.  Note  that  each  minor  scale  has  its 
tonic  a minor  third  below  the  tonic  of  its  relative  major.  Memorize  these  keys  so 
that  if  one  be  mentioned  the  relative,  with  its  signature,  can  be  immediately  given. 
Play  all  the  minor  scales  and  sing  those  which  come  within  the  compass  of  the  voice 
until  the  intonation  is  as  correct  and  the  succession  of  the  tones  as  easily  pro- 
duced as  the  major  scale. 


LESSON  XVIII. 

Accidentals,  Chromatic  Intervals,  Chromatic  Scale. 

Only  those  intervals  have  been  hitherto  introduced  which  are  normal  to  the  ma- 
jor scale.  It  is  evident  that  any  interval  may  be  made  larger  or  smaller  by  the  use 
of  the  well  known  accidentals,  sharp  $ , double-sharp  flat  \? , double-flat  j?i? , and 
cancel  Jj  (natural).  The  cancel,  (so  named  because  it  cancels  the  effect  of  some 
previous  sign),  either  raises  or  lowers  a note  and  should,  therefore,  be  spoken  of  as 
a sharp  or  flat,  whenever  it  is  necessary  to  mention  it  at  all.  ( See  Fig.  39 ). 


Fig.  39. 

One,  sharp-one.  Three,  flat-three. 


The  following  is  a list  of  the  chromatic  intervals  which  are  in  common  use 


Augmented  Primes. 
Augmented  Seconds. 
Diminished  Thirds. 
Diminished  Fourths. 


Augmented  Fifths. 
Augmented  Sixths. 
Diminished  Sevenths. 
Diminished  Octaves. 


GENERAL  SIGHT-READING. 


33 


Fig.  40. 

Aug.  Primes.  Aug.  Seconds.  Dim.  Thirds.  Dim.  Fourths. 


& - 

1 

1 

t-  1 

S - 

L— t— 1 

KM  fc- 

Met  L“K 

===fe=l 

Aug.  Fifths. 


Aug.  Sixths.  Dim.  Seventh.  Dim.  Octaves. 

:(==f®-r -=• 


:=—^^^==^^a===tp^-t- 


— r— H 

fes 

h — — 

- fez? 

F — 

The  Aug.  second,  dim.  fourth,  aug.  fifth  and  dim.  seventh  are  found  in  the  dif- 
ferent forms  of  the  minor  scale  and  will  come  up  for  study  in  their  proper  order. 
The  augmented  prime,  diminished  third,  augmented  sixth  and  diminished  octave 
may  be  familiarized  thus:  Write  augmented  primes,  both  ascending  and  descend- 

ing on  each  degree  of  the  C,  E,  & A t?  major  scales  using  correctly  the  accident- 
als signs;  begin  each  scale  in  the  one-line  group.  Write  a diminished  third,  an 
augmented  sixth  and  a diminished  octave,  both  ascending  and  descending,  from 
each  degree  of  the  same  scales.  In  order  to  construct  a diminished  third,  an  aug- 
mented sixth  or  a diminished  octave  it  must  be  borne  in  mind  that  a major  third 
must  be  reduced  a whole  step,  a minor  third  a half  step;  a major  sixth  must  be 
enlarged  a half  step,  a minor  sixth  a whole  step  and  a perfect  octave  must  be  reduced 
a half  step.  (See  Fig.  41  for  a model). 


Fig.  41. 


Augmented  Primes. 


"fj-SiJr 

:etc. 

1 

z?  wc 

- ^ — jfzz: 

■fPrs  +T  s nz? 

S’  fez?  . 

V \)  n 

l — jfi,  i — b i,  2 — 32,  2 — b2,  3 — #3,  3 — I?  3. 


TTi  fe 

1 1 

I'ete. 

/aW  fe  - v 

1 

z?— 

— fefes — 

= — W~ 

Z?  feS  _ 

1 

1— jfl,  1 — >1,  2 — #2,  2 — 1?  2,  3— #3,  3 — 1?  3. 


Diminished  Thirds. 


-e- 

# H 

— 

fes  ' 

-fas’ ' 

*3  oz? 

- 

S’ 

n TTs  > 

z? 

H ftz?  fi 

L w'  . . ... 

L *Z? 

L C i 

jfl  — >3,  1 — jf6,  2 — t?  4,  2—  Jf7,  3 — i?  5,  1?  3 — jfl. 


- 

— 

— 

1 

-J  \ J 

1 

1C 

- ^ ..fefez? 

1 

xL 

1 ■ wz 

i-l 

S’ 

S’  u 

-t 

“ s-**-  w3  1 

P 

jfl  — t?3,  1—  |f  6,  2 — t?  4,  2 — j(7,  3 — 1?  5,  3 — jfl. 


34 


GENERAL  SIGHT-READING. 


Augmented  Sixths. 


1 — j6,  jf  1 — >3,  2—  #7,  2 — H,  b 3 — Jfl,  3— >5. 

Diminished  Octaves. 


-i 

\v 

tt  i 

- ■ ■ ■ 

a. 

I2£'_ 

& 

n 

zr 


1 — bi,  1 — ft  1,  2 


k- - 


(5 


r“2~ 


P7, 

>2, 

2- #2, 

3 — b3, 

cc 

tt 

1 

CO 

r 

S 

1 

1 

r~g>~ 


-<5»- 


i(5*- 


1 — b 1,  1 — ft  t,  2 — b 2,  2 — ft  2,  3 — b 3,  3 — #3. 


The  foregoing  process  will  serve  to  familiarize  the  notation,  only,  of  these  inter- 
vals: their  sounds  and  how  to  learn  them  will  be  explained  farther  on. 

Write  a chromatic  scale,  both  ascending  and  descending,  from  each  major  scale 
tonic,  with  the  correct  signature  and  proper  accidentals  using  the  following  formula: 
1,  - sharp  1,  - 2,  - sharp,  2,  3,  4,  sharp  4,  5,  sharp  5,  6,  sharp  6,  7,  1,  1,  7,  flat  7,  6, 
flat  6,  5,  flat  5,  4,  3,  flat  3,  2,  flat  2,  1 . (See  Fig.  42  for  a model). 


Fig.  42. 


1 — ft  1 - 2 - ft  2 - 3 - 4 - $ 4 - 5 — ft  5 - 6 - ft  6 - 7 - 1, 


A-  44  Cu  > ^3  - 

— — 

n 

— ^ 4^ <s> — 

& + S3  ■, -1 

^ zt-H 

1 - 

i 

i 

V 

— 6 — \f  6 — 

5 - t?5  - 4 - 

3 -f>3-  2 -t?2  1. 

LESSON  XIX. 

The  Melodic  and  Harmonic  Minor  Sales. 

In  the  pure  minor  scale  ( Lesson  XVII  Fig’s.  36  & 38 ) there  is  no  leading-tone, 
as  the  minor  seconds  occur  at  2 - 3 and  5-6;  in  the  harmonic  scale  a leading-tone  is 
formed  by  the  introduction  of  a third  minor  second  at  7 - 1. 


GENERAL  SIGHT-READING. 


35 


Fig.  43 


• 111 


Aug.  2d. 


~ar 


& 


<y- 


--4= 

f— 

-JZL 


5 


=t 

&- 


l 31 


This  additional  minor  second  produces  an  augmented  second,  ( a half  step  larger 
than  a major  second ),  at  6 - 7.  Change  the  pure  minor  scales,  already  written,  to 
the  harmonic  form  and  mark  the  augmented  second  with  a bracket  as  in  Fig.  43. 

Study  Ex.  176  in  Solfeggio  Book  No.  2 as  follows:  It  is  divided  into  nine  sec- 

tions by  the  double  bars;  say  the  numbers  to  the  first  section  in  strict  time; 
( metronome  J—  72),  analyze  it  until  each  interval  can  be  instantly  named;  sing  it 
until  the  intonation  and  rhythm  are  correct;  Study  each  section  in  this  manner  and 
then  attempt  to  sing  the  entire  exercise.  The  diminished  fourths,  in  the  third  and 
fourth  measures  of  each  section,  will  present  little  difficulty  owing  to  the  strong 
attraction  of  the  leading-tone. 

The  flelodic  Minor  Scale. 

Because  of  the  supposed  awkwardness  of  the  augmented  second  as  a melodic 
progression  composers  have  avoided  it  by  raising  the  sixth  and  seventh  degrees  a 
half  step  in  the  ascending  scales  and  restoring  the  scale  to  its  pure  form  in  descending. 
Fig.  44.  Sharp  6.  Sharp  7. 


&- 


1EI 


1SL 


JO.- 


Seven,  Six. 


-‘S'— z?- 


•6i- 


As  thus  arranged  the  minor  seconds  occur  at  2 3,  7 1,  & 5 6.  (See  Fig. 

44 ).  These  accidentals  should  be  called  sharp-six,  sharp-seven  and  seven,  six  when 
restored. 

Write  all  the  melodic  minor  scales  both  ascending  and  descending;  use  the 
proper  signature  for  each  with  the  correct  accidental  signs  for  raising  and  restoring 
the  sixth  and  seventh  degrees.  * 

Write  these  scales  with  care  and  mark  all  the  minor  seconds  with  a slur.  Study 
Ex.  187,  Solfeggio  Book  No.  2,  according  to  the  explicit  directions  for  Ex.  176 
from  the  same  book. 

Key  Signatures. 

Each  signature  being  the  sign  of  both  a major  and  a minor  key  it  becomes  nec- 
essary to  look  further  in  order  to  decide  in  which  mode  a composition  is  written. 
Exercises  176  & 187  may  serve  as  a model  to  illustrate  a rule  which  shall  cover  all 
cases.  Each  section  contains  all  the  characteristics  of  the  minor  mode,  ( viz.  the 
proper  chromatic  sign  for  the  raised  sixth  or  seventh  or  both  ),  and  ends  on  the  tonic 
of  the  minor.  The  following  rule,  therefore,  will  decide  the  question  of  key:  If 

in  the  major  it  will  end  in  the  tonic  chord;  if  in  the  minor  it  will  also  end  in  the 
tonic  chord  and  will  contain  the  raised  seventh. 

Note: — (In  order  to  restore  a note  which  has  been  altered  by  means  of  a double-sharp  or  double-flat 
it  is  necessary  to  use  two  signs ; thus:  £J  $ or  jj  (?)• 


LESSON  XX. 
Review  and  Examination. 


36 


GENERAL  SIGHT-READING. 


LESSON  XXI. 

Major  and  Minor  Hode,  Transposition,  Rhythm. 

Analyze  and  sing  Ex.  33,  in  Solfeggio  Book  No.  1,  as  it  is  written:  Write  it  in 

F and  G clefs  in  C-minor,  melodic  form  with  the  proper  signature  and  accidentals; 
(the  second  half  being  in  the  descending  scale  should  be  written  in  the  pure  form). 
Analyze  and  sing  it  in  this  form  until  the  intonation  and  rhythm  are  perfect.  Write 
out  the  same  exercise  in  C-minor,  harmonic  form,  mark  the  minor  seconds  with  a 
slur,  the  augmented  seconds  with  a bracket,  analyze  and  sing  it  with  great  care. 
Pay  special  attention  to  the  intonation  of  the  leading  tone  in  ascending  and  to  the 
sub-mediant  in  descending;  spell  and  play  it  in  D-minor,  harmonic  form,  in  B-minor, 
melodic  form,  from  the  copies  already  made.  Say  the  numbers  to  Ex.  188,  Solfeg- 
gio book  No.  2,  in  time:  Begin  with  the  metronome  at  J — 80  and  gradually  increase 

the  speed  to  J — 108;  Sing  it  at  J — 80  with  careful  attention  to  both  rhythm  and 
intonation. 


LESSON  XXII. 

The  same  Subjects  Continued. 

Study  Ex.  82  as  follows:  Say  the  numbers  in  time  at  — 84,  observe  carefully 

the  time  signature;  spell  and  play  it  in  all  minor  keys,  melodic  form,  beginning 
with  D-minor. 

Study  Ex.  190  Solfeggio  Book  No.  2,  according  to  the  directions  for  Ex.  188  in 
last  lesson.  Study  Ex.  167  Solfeggio  Book  No.  2,  as  follows:  Say  the  numbers  in 

time,  (J=r8o)  analyze  it  with  care  and  sing  it  until  rhythm  and  intonation  are 
perfect;  Spell  and  play  it  in  D,  E,  & B minor. 


Thirds  and  Seconds. 


Ex.  82. 


J 

p— ^ 

GENERAL  SIGHT-READING. 


37 


I; 


S^F 


» • • • 


& 


±f=t=f= 


t=f=t= 


-0- 


© 


*— T—  f2-  ^ 


H b 


t=t=t=F-ffl — ^ 


LESSON  XXIII. 

Thirds  in  Major  and  Minor  Mode,  Rhythm. 

Analyze  and  sing  Ex.  35,  Sol.  Bk.  No.  1,  as  it  is  written:  Play  it  in  all  the 

major  keys.  Write  the  same  Ex.  in  C-minor,  harmonic  form;  analyze  and  sing  it; 
change  it  to  dotted  rhythm  by  dotting  the  first  note  in  every  measure  and  changing 
the  second  note  to  an  eighth;  make  also  the  necessary  changes  in  the  rests;  spell 
and  play  this  exercise,  as  thus  arranged,  in  all  minor  keys,  sing  it  in  several  keys 
which  are  convenient  to  the  voice. 

Study  Ex.  156,  Sol.  Bk.  No.  2,  as  follows:  Say  the  numbers  to  the  first  divis- 

ion in  time  with  the  metronome,  ( J — 60) ; when  thus  learned  study  each  succeeding 
division  in  like  manner,  then  learn  to  sing  the  whole  exercise  with  correct  rhythm 
and  intonation. 


38 


GENERAL  SIGHT-READING. 


LESSON  XXIV. 

The  same  Subjects  Continued. 

Analyze  and  sing  Ex.  36,  Sol.  Bk.  No.  1,  as  it  is  written.  Spell  and  sing  it  in 
G-minor,  harmonic  form;  Play  it  in  all  sharp  keys  in  minor  and  all  flat  keys  in 
major.  Sing  Ex.  37,  Sol.  Bk.  No.  1,  as  it  is  written,  spell  and  sing  it  in  the  tonic 
or  paralell  minor,  harmonic  form:  Sing  it  Alla  Breve  in  both  major  and  minor, 

Metronome  ^=69.  Write  the  same  Ex.  in  dotted  rhythm  by  making  the  proper 
changes  in  all  the  measures  containing  quarter  notes;  leave  the  half  notes  un- 
changed; say  the  numbers  and  sing  it,  metronome  J— 100;  J— 112;  J — 120; 
(5j  = 80;  J=  100.  Write  the  same  exercise  in  2:  rhythm  using  the  same  number: 

• ^ i 

measures:  (16).  Say  the  numbers  and  sing  it  thus:  metronome  J — 120.  Write  it 
in  2l  rhythm  using  only  half  as  many  measures:  Say  the  numbers  and  sing  it  in 

4"  i 

the  latter  form  metronome  J — 80.  Say  the  numbers  to  Ex.  192,  Sol.  Bk.  No.  2, 
Met.  J — 80  to  108:  Use  much  care  to  give  full  three-fourths  of  a beat  to  the  dotted 

notes;  sing  it  in  perfect  tune  and  rhythm,  Met.  J — 80  to  108. 

LESSON  XXV. 

Fourths  in  Hajor  and  Hinor  node,  Rhythm. 

Analyze  and  sing  Ex.  65,  Sol.  Bk.  No.  1,  as  it  is  written;  spell  and  play  it  in 
all  major  keys:  Write  it  in  C-minor,  harmonic  form.  Ex.  65,  when  written  in 
minor,  will  introduce  the  diminished  fourth  on  the  seventh  degree  of  the  scale; 

( 3 _ 7 ).  Mark  all  the  augmented  seconds  and  diminished  fourths  with  a bracket; 
analyze  and  sing  it  thus  with  care  as  to  the  intonation  of  these  intervals;  spell  and 
play  it  in  all  minor  keys.  Write  the  same  Ex.  in  C-minor,  melodic  form,  remem- 
bering to  use  the  pure  form  commencing  at  measure  15;  analyze  and  sing  it;  spell 
and  play  it  in  all  the  minor  keys. 

Say  the  numbers  to  Ex.  193,  Bk.  No.  2,  Met.  J— 108  to  120.  Sing  it  at  the 
same  speed. 


LESSON  XXVI. 

The  same  Subject  Continued. 

Analyze  and  sing  Ex’s.  66  & 67  Sol.  Bk.  No.  1,  as  they  are  written.  Spell  and 
play  Ex.  66  in  all  major  keys.  Spell  and  play  Ex.  67  in  all  minor  keys,  harmonic 
form. 

Analyze  and  sing  Ex’s.  173  & 172  Sol.  Bk.  No.  2,  as  they  are  written;  spell 
and  play  them  in  all  minor  keys. 


GENERAL  SIGHT-READING. 


39 


LESSON  XXVII. 

Fifths,  in  Major  and  Minor  Mode,  Rhythm. 

The  minor  mode  contains  one  augmented  fifth  found  on  the  third  degree  of  the 
melodic  and  harmonic  minor  scales.  Fig.  40  shows  the  fifth,  3-7  in  the  pure  mi- 
nor  scale  as  a perfect  fifth  and  that  it  is  increased  a half -step  in  both  the  harmonic  | 
and  melodic  forms  by  raising  the  seventh  degree  a half  step,  thus  producing  an 
augmented  fifth. 


Fig.  46. 

Pure.  Harmonic.  Melodic. 


7 


Say  the  numbers,  analyze  and  sing  Ex.  83  as  it  is  written.  Write  it  in  B-mi- 
nor,  harmonic  form,  mark  the  augmented  fifths  and  augmented  seconds  with  a 
bracket,  analyze  and  sing  it  with  particular  care:  Spell  and  play  it  in  all  minor 

keys.  Write  the  same  exercise  in  A-minor,  melodic  form,  analyze  and  sing  it  with 
special  care  as  to  the  intonation,  spell  and  play  it  in  this  form  in  all  minor  keys. 


Ex.  83. 


Fifths,  Fourths,  Seconds. 


& .' 


m .ft  - 


3 


-0  * 


£3= 


H= 


-0  l 


m * 


-0  • 


0— 


t=± 


SE 


m 


0-- — t- 


P 


i- 


h:  ^ A 


t==t= 


t= 


-0- 

p 


4P 


GENERAL  SIGHT-READING. 


LESSON  XXVIII. 

The  same  Subject  Continued. 

Analyze  and  sing  Ex’s.  85  & 86,  Sol.  Bk.  No.  1 as  they  are  written.  Write  Ex. 
85  in  G-minor,  harmonic  form,  analyze  and  sing  it;  spell  and  play  it  in  all  minor 
keys.  Spell  and  play  Ex.  86  in  all  major  keys.  Study  Ex.  157  Sol.  Bk.  No.  2, 
according  to  the  directions  for  Ex.  156.  ( See  Lesson  XXIII ). 


GENERAL  SIGHT-READING. 


41 


LESSON  XXIX. 

Triads  Major,  Minor  and  Diminished. 

A triad  is  a chord  composed  of  three  tones  which  are  usually  consonant  with 
each  other;  such  chords  can  be  built  upon  any  tone  of  the  major  or  minor  scale; 
the  triads  of  the  major  scale  will  be  first  considered. 


Fig.  44. 


It  will  be  seen  from  Fig.  44  that  these  chords  are  composed  of  thirds  and  fifths; 
viz.  1 - 3 is  a major  third,  3 - 5 a minor  third  and  1 - 5 a perfect  fifth.  When  a 
triad  is  composed  of  a major  and  a minor  third  the  fifth  thus  formed  is  perfect  and 
the  triad  is  major  or  minor  according  to  the  order  in  which  the  thirds  appear:  If 

the  lower  third  is  major,  then  the  triad  is  major:  If  the  lower  third  is  minor,  then 

the  triad  is  minor:  When  both  triads  are  minor  the  fifth  thus  formed  is  a dimin- 

ished fifth  and  the  chord  is  called  a diminished  triad.  Triads  may  also  appear  in 
the  form  of  broken  chords  as  in  Fig.  45. 


Fig.  45. 


- — 

l_  ^3- 

L _ Z? 

- ^ ^ 

^ . z? 

TrxS  ^ 

^ & _ 

w & * 



7Z) 

An  analysis  of  Fig.  45  will  show  that  the  triads  on  the  1st.,  4th.,  & 5th.  degrees 
of  the  scale  are  major,  those  on  the  2nd.,  3rd.,  & 6th.  degrees  are  minor,  that  on  the 
7th.  degree  diminished.  All  these  triads  find  an  illustration  in  Ex.  88,  Sol.  Bk.  No. 
1:  Analyze  this  Ex.  as  follows;  1-3-5,  major  triad;  5-1-1-5-5-1,  perfect 

fifths,  etc. : Analyze  and  sing  this  Ex.  with  great  care,  write  and  sing  it  in  the 

keys  of  Bi?,  C,  D|?,  & D-major:  Spell  and  play  it  in  all  other  major  keys. 


LESSON  XXX. 

The  same  Triads  in  the  Minor  Hode. 

Analyze  Ex.  84  with  special  care:  In  the  fifth  measure  analyze  thus;  sharp  7 

-2-4,  diminished  triad,  etc.  When  all  the  intervals  are  clearly  seen  attempt  to  sing 
it.  See  that  the  intonation  is  exactly  correct  at  the  diminished  triad  in  the  third 


measure. 


42 


GENERAL  SIGHT-READING. 


Triads,  Major,  Minor  and  Diminished. 

Ex.  84. 


✓ a i 

1 

1 -A 

i i 

1 

J 4- 

| | | L 

_| J _1 

J _]  _i L 

_J  J _i_ 

n J i 

9 

A 

J J A 

_i  n 2 j 

l VM7  -A-  9 9 

9 2 2 

1 2 0 2~ 

^ • ’ * * ’ W - 
I » 

1 \ — • — 

0 9 

n » 

9 m » 1 9 __  r ! 

rt — f — P — S— 

u 9 9 

zr  R h m t 

L 

V9  ; r r 

k r c 

-M—M- — L 

I-  1 1 

-h  t=— 4 

Having  learned  Ex.  84  according  to  the  foregoing  directions,  spell  and  play  it 
in  all  minor  keys,  harmonic  form.  Study  Ex.  158,  Sol.  Bk.  No.  2,  according  to 
previous  directions. 


LESSON  XXXI. 

The  Augmented  Triad. 

The  triad  on  the  third  degree  of  the  scale  is  composed  of  two  major  thirds  and 
is  therefore,  an  augmented  triad. 


Fig.  47. 


— 0 — ( ^ 

\>  - & ' .9  ^ 

I =-I 

* 

LfS» 1 

Major  3d.  Major  3d. 


Analyze  and  sing  Ex.  85  &86  with  great  care,  as  to  the  intonation  of  the  leading- 
tone:  Spell  and  play  them  in  all  minor  keys.  Analyze  and  sing  Ex’s.  169  & 171, 

Sol.  Bk.  No.  2. 


GENERAL  SIGHT-READING, 


43 


Augmented  Fifths  and  Seconds. 

Ex.  85. 


44 


GENERAL  SIGHT-READING. 


LESSON  XXXII. 

Sixths,  Major  and  Minor. 

Analyze  and  sing  Ex.  97,  Sol.  Bk.  No.  1:  Write  it  in  O-minor  harmonic  form; 

analyze  and  sing  it;  spell  and  play  it  in  all  sharp  keys  in  major  and  in  all  flat  keys 
in  minor,  harmonic  form.  Study  Ex.  98,  Sol.  Bk.  1,  in  precisely  the  same  manner. 
Study  Ex.  159  Sol.  Bk.  2,  according  to  previous  directions. 


LESSON  XXXIII. 

Sixths  Continued. 

Ex’s.  Ill  & 112  Sol.  Bk.  1,  show  the  sixth  in  its  relation  to  the  third  and  oc- 
tave: Analyze  and  sing  these  with  much  care:  Write  them  in  C-minor,  melodic 

form,  remembering  to  restore  the  sixth  and  seventh  degrees  when  the  exercise 
descends  the  scale:  Analyze  and  sing  these  exercises  in  this  form  with  still  greater 

care.  Spell  and  play  Ex.  Ill  in  all  major  keys,  Ex.  112  in  all  minor  keys,  melodic 
form.  Ex.  105,  Sol.  Bk.  1,  is  more  melodious  in  character  than  the  preceding  exer- 
cises: Analyze  and  sing  it  as  it  is  written,  spell  and  play  it  in  many  major  keys. 


GENERAL  SIGHT-READING. 


45 


LESSON  XXXIV. 

Sevenths,  ITajor  and  Hinor. 

Analyze  and  sing  Ex.  115,  Sol.  Bk.  1:  When  it  is  learned  as  it  is  written  sing 

it  Alla  Breve,  Met.  — 80,  with  careful  attention  to  the  intonation.  Analyze  and 
sing  Ex.  116,  Sol.  Bk.  1,  as  it  is  written  with  continous  attention  to  the  intonation: 
Spell  and  play  it  in  all  major  keys.  Ex.  117,  Sol.  Bk.  1,  shows  the  seventh  media- 
ted by  thirds:  Analyze  it  with  reference  to  the  broken  chords,  thus:  1-3-5-3-1, 
major  triads;  7 - 2 - 1 - 6 minor  seventh  chord;  Where  the  chord  occurs  in  other 
than  the  form  of  thirds,  it  may  be  ignored  for  the  present  and  analyzed  by  its  sep- 
arate intervals:  ( See  measure  15  ).  After  the  analysis  is  well  learned,  sing  it  with 

the  most  careful  attention  to  the  intonation  of  the  sevenths. 


LESSON  XXXV. 

The  Diminished  Seventh. 

The  diminished  seventh,  like  the  diminished  fifth,  is  found  on  the  leading-tone 
of  the  minor  scale  and  is  one-half  step  smaller  than  the  minor  seventh.  Ex.  181, 
Sol.  Bk.  2,  displays  this  interval  in  its  proper  place,  on  the  leading-tone  of  the  scale 
of  F-sharp-minor  and  contrasted  with  both  major  and  minor  sevenths:  Analyze  the 

first  four  notes  of  this  Ex.  and  when  the  intervals  are  understood  sing  them  at  least 
twenty  times  in  succession  with  the  most  careful  attention  to  the  intonation:  Write 

these  intervals  in  all  the  minor  keys  with  the  proper  signature  and  accidental;  sing 
them  in  each  key  until  there  is  no  longer  any  difhculy  in  giving  the  exact  intona- 
tion to  this  interval  in  any  key.  The  above  directions  having  been  faithfully  carried 
out,  the  entire  Ex.  may  be  analyzed  and  sung:  Note  also  the  somewhat  unusual 

time-signature.  Analyze  and  sing  Ex.  178,  Sol.  Bk.  2:  Spell  and  play  it  in  all 
minor  keys. 


LESSON  XXXVI. 

The  same  Subject  Continued. 

Analyze  Ex.  180,  Sol.  Bk.  2,  until  each  interval  can  be  quickly  recognized: 
Note  the  compound  measure;  viz.  six-eight,  compounded  from  two  measures  of 
three  eight  time,  with  the  primary  accent  on  the  first  beat  and  the  secondary  accent 
on  the  fourth  beat.  Sing  this  Ex.  with  great  care  and  increase  the  speed  from 
s'  — 80  to  J'''  — 112:  Spell  and  play  it  in  C and  E-minor. 

In  Ex.  170,  Sol.  Bk.  2,  the  diminished  seventh  will  be  found  as  a chromatic  in- 
terval, viz.  on  another  tone  than  the  leading-tone:  this  will  not  be  difficult  if  the 
foregoing  Ex’s,  have  been  thoroughly  learned.  Analyze  this  Ex.,  say  the  numbers 

(Met.  J — 72)  and  sing  it  until  a perfectly  smooth  and  tuneful  rendering  can 
be  given. 


46 


GENERAL  SIGHT-READING. 


LESSON  XXXVII. 

Octaves,  Rhythm. 

Analyze  and  sing  Ex.  132,  Sol.  Bk.  1,  with  care  to  keep  it  in  the  key  of  C-ma- 
jor,  as  there  will  be  a tendency  to  make  a tonic  of  the  first  note  of  each  phrase: 
When  it  is  thoroughly  learned  as  it  is  written,  sing  it  Alla  Breve,  Met.  ^j  — 80: 
Sing  it  in  C-minor,  harmonic  form,  in  the  same  rhythm  in  which  it  is  written  and 
with  special  attention  to  the  intonation:  Sing  it  also  in  C-minor  Alla  Breve,  Met. 

^ — 72.  Write  the  same  exercise  in  two-four  / 2 \ rhythm  changing  all  the  quar- 

' 4 

ter  notes  to  sixteenths  and  the  half  notes  to  eighths:  Say  the  numbers  in  correct 

time,  Met.  J — 66:  Sing  it  in  this  form  until  a finished  performance  can  he  given; 

play  it  in  both  major  and  minor  in  all  the  rhythms  indicated  above. 


LESSON  XXXVIII. 

The  same  Subjects  Continued. 

Analyze  and  sing  Ex.  134,  Sol.  Bk.  1,  recognize  the  triads  in  the  analysis: 
When  well  learned  as  it  is  written  sing  it  Alla  Breve,  Met.  ^=100.  Write  it  in 
B-minor,  harmonic  form,  analyze  and  sing  it  thus,  Met.  J — 84:  Spell  and  play  it 

in  all  sharp  keys  in  major,  in  all  flat  keys  in  minor.  Analyze  and  sing  Ex's.  135  & 
136,  Sol.  Bk.  1:  When  well  learned  sing  Ex.  135  with  one  beat  to  a measure,  Met. 
— 72  to  (S3<  — 100;  Sing  Ex.  136,  Alla  Breve,  Met.  & — 88  to  r=  112. 


LESSON  XXXIX. 

Diminished  Octaves,  Rhythm, 

The  diminished  octave  is  a purely  chromatic  interval;  viz.  it  is  not  found  in  any 
major  or  minor  scale  but  is  created  by  diminishing  a perfect  octave  one  half-step. 
Ex.  129,  Sol.  Bk.  1,  contains  several  illustrations  of  the  dim.  octave:  Analyze  and 

sing  this  Ex.  with  special  attention  to  the  intonation;  play  it  in  all  major  keys. 
Study  Ex.  189,  Sol.  Bk.  2,  as  follows:  Say  the  numbers  in  perfect  time,  Met.  J — 

60;  The  sixteenth  rests  may  be  said  aloud  until  it  becomes  easy  to  feel  the  time 
which  belongs  to  them  after  which  they  should  be  observed  in  silence  and  the  notes 
said  in  perfect  rhythm.  After  Ex.  189  has  been  correctly  sung  it  may  he  played  at 
a rate  of  speed  beginning  at  J — 60  and  increasing  to  J = 84. 


LESSON  XL. 

Review  and  Examination. 


GENERAL  SIGHT-READING. 


47 


LESSON  XLI. 

Principal  Triads. 

The  triads  of  the  major  and  minor  scales  have  been  hitherto  considered  as  a 
whole;  they  have  also  been  represented  by  tones  which  are  separated  from  each 
other  by  the  interval  of  a third:  When  chords  appear  thus  they  are  said  to  be  in 

their  fundamental  form  because  the  lowest  tone  is  the  root  of  the  chord  and  the  oth- 
er tones  receive  their  names  from  the  interval  which  they  form  with  the  root,  thus, 
the  next  highest  tone  forms  the  interval  of  a third  and  is  called  the  third  of  the 
chord;  the  next  highest  tone  forms  the  interval  of  a fifth  and  is  called  the  fifth  of 
the  chord,  so  that  the  tones  of  a triad  are  called  respectively  the  root,  the  third, 
the  fifth. 


Fig.  48. 


-^-Fifth 
Third  - 
Root 


S2  Fifth 
'72  Third 
Root 


-!$>— Fitfh 

-0— Third — - 
- Root 


IY  V 


The  root  of  any  chord  may  be  determined  by  placing  the  tones  so  that  they  will 
form  a succession  of  thirds ; the  lowest  tone  is  then  the  root  of  the  chord  and  from 
this  tone  the  chord  receives  its  name,  viz.  the  chord  of  C,  the  chord  of  F,  etc.  (Fig. 
48).  The  triads  on  the  tonic  (I),  dominant  (V),  and  subdominant  (IV)  are  called 
principal  triads  and  contain  all  the  tones  of  the  scale. 




— 0 — 

— 0 

0 

w 

& 

^ ■&- 
I . 

V I 

■0- 

IV 

V 

IV 

V 

Therefore  the  major  or  minor  character  of  these  chords  establishes  the  scale  as  ma- 
jor or  minor.  In  Fig.  48  the  principal  triads  of  the  scale  of  C are  seen  to  be  major, 
hence  the  scale  is  a major  scale.  Ex.  87  is  a study  of  the  principal  triads  of  all  the 
major  keys:  Fill  out,  neatly,  the  measures  which  are  incomplete  and  designate  the 

chord  in  each  measure  by  the  use  of  the  large  Roman  numerals:  Sing  as  much  of 

it  as  comes  within  the  compass  of  the  voice;  play  it  until  it  is  committed  to  memory 
or  until  any  triad  in  any  key  can  be  given  at  call  without  hesitation. 

Study  Ex.  194  Sol.  Bk.  2,  according  to  the  directions  for  foregoing  exercises 
in  rhythm. 


48 


GENERAL  SIGHT-READING. 


The  Principal  Triads. 


Ex.  87. 


t=t 


GENERAL  SIGHT-READING, 


49 


Ez E=^E 


50 


GENERAL  SIGHT-READING. 


LESSON  XLII. 


Principal  Triads  in  Minor. 


As  in  the  major,  the  principal  triads  in  minor  are  those  on  the  tonic  ( I ),  the 
dominant  (v),  and  subdominant  (iv);  these  chords,  also,  contain  all  the  notes  of 
the  scale.  ( See  Fig.  50  b ). 


Fig.  50. 


a. 


i 


:s: 


:g: 


IV 


v i iv  v iv  y 


In  the  pure  form  of  the  minor  scale  the  principal  triads  are  all  minor,  hence  the 
name;  in  the  harmonic  form  the  dominant  triad  becomes  major  by  the  raising  of 
the  seventh  degree  so  that  the  dominant  chord  is  major  in  both  the  major  and  mi- 
nor modes;  the  pure  and  the  melodic  forms  are  rarely  used  for  harmonic  purposes, 
therefore  they  will  be  set  aside  for  the  present.  Fig.  51  shows  the  principal  triads 
of  C-minor,  harmonic  form. 


Fig  51. 


¥ 


I2Z 


IV  V 


Fill  out,  neatly,  the  incomplete  measures  of  Ex.  88  using  the  correct  signatures 
and  accidentals,  marking  each  minor  chord  with  the  small,  and  each  major  chord 
with  the  largeRoman  numeral.  Study  Ex.  195  Sol.  Bk.  2,  Met.  J, — 72. 


Principal  Triads  in  Minor. 


Ex.  88. 





— |-tf 0- 


123: 


m 


■):,r3 


-0-  va 


IV 


Y 


GENERAL  SIGHT-READING. 


51 


52 


GENERAL  SIGHT-READING. 


LESSON  XLIII. 


Inversion  of  Triads,  Rhythm. 

The  triads  may  appear  with  other  members  than  the  root  as  the  bass:  [The 

term  bass  denotes  the  lowest  note  in  the  chord  withont  regard  to  its  pitch.]  When 
the  third  is  the  bass  the  triad  is  said  to  be  in  the  first  inversion  and  is  called  the 
chord  of  the  sixth;  when  the  fifth  is  the  bass  the  triad  is  said  to  be  in  the  second  in- 
version and  is  called  the  chord  of  the  sixth  and  fourth,  when  the  root  is  the  bass  the 
chords  are  simply  designated  triads  thus,  if  the  tonic  triad  were  called  for,  the  pupil 
should  respond  with  the  tones  1-3-5. 


Fig.  52. 


-<2. 


i 

I 

Triad. 


1st  Inversion. 


2d  Inversion. 


These  chords  are  marked,  in  major,  as  in  Ex.  89;  in  minor  as  in  Ex.  90  and 
are  spoken  thus;  tonic;  tonic-six;  tonic-six-four;  Subdominant;  subdominant-six; 
subdominant -six-four;  dominant;  dominant-six;  dominant-six-four. 

Fill  out  the  incomplete  measures  of  Ex.  89;  mark  each  chord  with  the  correct 
Roman  numeral  and  study  it  thus:  Analyze  it  until  the  intervals  can  be  given  with 

great  rapidity;  sing  the  divisions  which  come  within  the  compass  of  the  voice;  play 
it  until  any  chord  can  be  spelled  or  played  without  hesitation.  Study  the  triplet  as 
explained  on  page  305  Sol.  Bk.  2. 


Principal  Triads  and  Inversions. 

Ex.  89. 


GENERAL  SIGHT-READING, 


53 


54 


GENERAL  SIGHT-READING. 


GENERAL  SIGHT-READING. 


55 


56 


GENERAL  SIGHT-READING. 


LESSON  XLIV. 

Principal  Triads  in  Minor  and  Inversions,  Rhythm. 

Fill  out  the  incomplete  measures  of  Ex.  90,  using  the  correct  signatures  and 
accidentals,  and  mark  each  chord  with  the  proper  Roman  numeral:  Analyze  it, 
sing  the  divisions  which  come  within  the  compass  of  the  voice,  and  play  it  until 
any  chord  in  any  key  can  be  spelled  or  played  without  hesitation. 

Study  Ex.  196  Sol.  Bk.  2,  Met.  J— 80. 


Principal  Triads  in  Minor  and  Inversions. 

Ex.  90. 


GENERAL  SIGHT-READING 


57 


58 


GENERAL  SIGHT-READING, 


GENERAL  SIGHT-READING. 


59 


60 


GENERAL  SIGHT-READING. 


LESSON  XLV. 

Four=part  Chords. 

Triads  may  be  changed  to  four-part  chords  by  doubling  any  of  the  tones  an 
octave  higher.  Four-part  chords  are  subject  to  the  same  inversions  as  the  triads.  * 


Fig. 


& 

o 

/ a 

& 

vy  % 

Te 


I P 

Ex.  91  exhibits  these  chords  in  alternate  major  and  minor  keys:  Study  it  as 

follows:  Mark  every  chord  with  the  proper  Roman  numerals;  analyze  it  until  each 
interval  can  be  named  without  hesitation;  say  numbers  in  rhythm,  Met.  J = 92; 
Sing  it  at  the  same  speed,  singing  the  double  stemmed  note  in  every  other  measure; 
play  it  until  it  is  memorized;  study  it  with  the  voice  and  at  the  key-board  until 
auy  chord  can  be  played  or  sung  at  call  without  hesitation. 


Ex.  91. 


:^zznq^”< 


Four=part  Chords  and  Inversions. 

4 


q~4 

• _ m 


ig 


r 


r~ 

j.. 

P—lr 


m 


C*  . 


r; 


Ie 


t=: 


• * 


0 

I® 


:j4 — | >|  

— . — |— -g— I — 4#  *T~ i »~1 — F — gy 

iF* — tdz^iz=tit=L — 

, a '\  J.  J ^ 

n — s-^-h-r^rvi  — rrli rf+T^-rvr-®-H-r  <§  . 


141  If  ~ 


r 


-4 


id 


— r ^ i — 


&!*— r 

pP-yj-« 


stelHi 


vg.  -S=-g.Hs; 

-Eip=E^^3^=Ei±=b4=ib>— Eg-y= 

_ i 5*  W-  * f" 

I J 

t= 





r 


=*=F4=T=P 


: t 


aaais 


r 


* Note.  Such  chords  are  in  reality  triads,  as  the  fourth  tone  is  merely  the  double  of  one  of  the  original 
members  of  the  chord,  and  not  the  addition  of  a different  tone,  as  in  chords  of  the  Seventh.  (See  Lesson  L). 


GENERAL  SIGHT-READING 


61 


62 


GENERAL  SIGHT-READING. 


LESSON  XLVI. 

Modulation,  Rhythm. 

Modulation  means  change  of  key.  Modulation  is  produced  by  introducing  into 
a melody  or  harmony  tones  which  are  foreign  to  the  key  indicated  by  the  signature. 
Such  tones  are  identified  by  accidentals,  yet  accidentals  are  not  always  signs  of 
modulation,  because  they  frequently  occur  as  only  the  chromatic  embellishment  of 
a melody;  the  following  exercises  will  furnish  the  pupil  with  that  experience  which 
is  necessary  in  order  to  determine  when  a modulation  has  occurred,  and  what  it  is 
as  well  as  enabling  him  to  pass  easily,  with  the  voice,  from  one  key  to  another. 
Modulation  is  most  frequent  and  most  easily  effected  between  those  keys  which 
have  many  tones  in  common;  such  keys  as  those  whose  tonics  are  a perfect  fifth  or 
a perfect  fourth  apart.  By  Fig.  54  it  will  be  seen  that  the  key  of  C-major  contains 
all  the  tones  of  the  key  of  Gf-major  except  one,  (F  §) ; that  it  contains  also  all  the 
tones  of  the  key  of  F-major  except  one,  (Bi?);  the  tonics  of  these  keys  are  sepa- 
rated by  a perfect  fifth  or  a perfect  fourth. 


From  this  it  appears  that  sharp-four  ($4)  suggests  the  modulation  to  the  domi- 
nant, and  flat-seven  (i?7)  the  modulation  to  the  subdominant.  In  Ex.  92  these  two 
modulations  find  an  exemplification  in  every  division,  thus:  The  first  two  measures  are 
in  C-major,  the  third  and  fourth  measures  are  in  G-major,  the  dominant  of  C,  the 
remaining  measures  are  in  C-major,  the  subdominant  of  G.  Fill  out  the  incomplete 
measures,  taking  care  to  write  the  notes  in  the  same  groups  as  in  the  completed 
measures,  and  mark  each  chord  with  the  proper  letter  and  numeral;  study  it  as 
follows:  Analyze  it  thus:  Modulation  from  C-major  to  G-major  the  dominant  of  C; 
to  C-major  the  subdominant  of  G.  Having  thus  named  the  modulation,  name  the 
triads  thus:  C-major  tonic  and  dominant  triads,  G-major  dominant  triad  and  tonic: 
C-major  subdominant,  tonic,  dominant  triads  and  tonic:  Sing  the  entire  Ex.  with 

the  constant  endeavor  to  secure  correct  intonation;  play  it  until  any  of  these  mod- 
ulations can  be  given  at  call  without  hesitation.  Any  of  the  foregoing  Exercises  on 
triads  which  are  in  triple  measure  will  furnish  material  for  the  study  of  the  triplet 
by  playing  or  singing  them  with  one  beat  to  the  measure;  practice  them  thus  begin- 
ning at  Met.  ^ # = 60  and  gradually  increase  the  speed  to  Met.  . = 80. 


GENERAL  SIGHT-READING 


63 


Modulation  to  the  Dominant  and  Subdominant. 

Ex.  92. 


Cl  V GV  I CIV  I V I 


x4 


4== 


:4==c=X4_F==l=^F^H=:tf=: 

=4=  =4-3=- 


^ i- 


(9 


'=4=4: 


ff== 


:F 


3=3 


64 


GENERAL  SIGHT-READING, 


GENERAL  SIGHT-READING. 


65 


LESSON  XLVII. 

Modulation  in  Minor,  Rhythm. 

Ex.  93  illustrates  the  modulation  from  tonic  to  dominant  and  subdominant  in 
minor.  Fill  out  the  incomplete  measures;  mark  the  chords  with  the  proper  letters 
and  numerals,  using,  always,  the  small  letters  and  numerals  for  the  minor  chords: 
Study  this  exercise  with  the  utmost  care,  according  to  the  directions  for  Ex.  92, 
including  the  suggestions  for  its  use  as  a study  in  rhythm. 


Modulation  to  the  Dominant  and  Subdominant  in  Minor. 

Ex.  93. 


1 H =1 

i 1 L i 

FRb 

5=3=F 

1 

1 i 

rirfr  • - 

a i\ 

in 

t^==d 

F=fc=S= 

— i — * 

-a. 

fey 

w fl*  t 

=r  febfe 

t 

i . * 

_ j — * — i — 

hm  “*■ 

feferE=E| 

-4 

ip  f n=i— -- 

-E-L — 

(=*—«— 

t- E — H 

V gV  i civ  i V 


66 


GENERAL  SIGHT-READING, 


GENERAL  SIGHT-READING. 


67 


68 


GENERAL  SIGHT-READING. 


LESSON  XLVIII. 

Modulation,  Inversions, 

Ex.  94  illustrates  Modulation  from  tonic  to  subdominant,  from  subdominant 
to  dominant;  flat-seven  and  sharp-four  are  the  modulating  tones;  the  two  inversions 
of  the  triad  are  also  employed.  Fill  out  the  incomplete  measures,  using  the  first 
inversion  of  the  tonic  in  the  first  measure  of  each  division  whenever  that  tone  is 
higher  than  one-line  e:  (See  the  second  division.)  Mark  each  chord  with  the  proper 
letter  and  numeral;  Name  the  modulations  thus:  Modulation  from  C-major  to 
F-major  the  subdominant  of  C,  to  C-major  the  dominant  of  F:  Notice  that  the  last 
modulation  is  also  a return  to  the  original  key.  Name  the  chords  thus:  C-major  tonic, 
F-major  subdominant  six-four,  dominant  six,  tonic;  C-major  dominant,  tonic  six, 
dominant  six,  tonic.  Study  the  exercise  according  to  the  directions  for  Ex.  92. 
Use  it  also  as  a study  in  rhythm. 

riodulation  to  the  Subdominant  and  Dominant. 


Ex.  94. 


Go  i 

■ 

— ^ 

-J  1 * 

_1 

— I 

4 

/Lw  _i  J 

J U f 

m 1 i 

0 ..  1 

1 , 

T 

frT)  \ _j  J 0 

J V9 

r j i 

J a 

« 1?  t 

r j 

vM24  J J * 

0 

t # - 

• t r 

I m J 

" n -- 

^ " w ' • -j 

bm  +■  ♦ Urn  + ♦ 

C 0 

0 L_  L 

r * 

6 _|  1 ) 1 

‘ J.o  c , 

F 1 

L I 0 ^ L 

1 

; J i 1 r 1 

s \ 0 

r 

r r 

4 I—  1 

I . 

b k M 

- h t- 

h * 1 

1 Li 1 LI 1 — — 

Cl6  FIV«  V®  I CV  I6  V6  I 


GfP  CIV | V6  I GY  I6  V I 


GENERAL  SIGHT-READING, 


69 


70 


GENERAL  SIGHT-READING. 


GENERAL  SIGHT-READING. 


71 


LESSON  XLIX. 

Subordinate  Triads. 

The  subordinate  triads  are  those  upon  the  second,  third,  sixth  and  seventh 
degrees  of  the  scale.  They  are  called  subordinate  because  they  do  not  so  distinctly 
fix  the  character  of  the  scale  as  do  the  principal  triads,  therefore  their  use  is  much 
more  limited.  Any  of  these  triads  may  be  used  incidentally  in  the  following  studies. 
The  triad  on  the  submediant  ( vi)  of  the  major  scale  is  the  tonic  triad  of  the  relative 
minor;  as  such  it  will  receive  consideration  at  this  point.  As  was  stated  in  Lesson 
XLYI  the  most  frequent  modulations  are  those  between  the  tonic,  dominant  and 
subdominant : the  next  in  order  is  that  between  the  tonic  and  submediant  or  rela- 
tive minor:  (vi)  This  modulation  is  produced  by  raising  the  fifth  (Jt5)  this  being  the 
leading  tone  of  the  relative  minor.  The  mediant  (hi)  triad  changed  thus,  becomes 
the  dominant  triad  of  the  relative  minor,  in  the  same  manner  as  the  raised  fourth 
(J-f)  in  the  modulation  to  the  dominant,  changed  the  supertonic  (n)  triad  to  the 
dominant  triad  of  the  next  key  in  the  order  of  fifths. 


Fig.  55. 


- - & -\ 

- 

n 1 



7 ^ ^ - 

1 

_ ^ ^ 

d 

& d 

Cl  aV  i Cl  Y GY  I 


(See  also  Ex.  92.)  Ex.  95  illustrates  the  modulation  to  the  submediant,  it  also 
introduces  the  supertonic  triad  (n)  and  proves,  in  the  second  ending,  that  the  dom- 
inant triad  leads  as  directly  to  the  tonic  (parallel)  minor  as  to  the  major;  this  cannot 
fairly  be  called  a modulation,  as  modulation  implies  a change  of  tonic,  but  it  brings 
a composition  into  close  proximity  to  distant  keys,  that  is,  to  keys  whose  signature 
differs  much  from  the  signature  of  the  next  key  in  order  of  fifths.  (See  Lesson  LVII. ) 
Study  Ex.  95  according  to  the  directions  for  the  foregoing  exercises  in  modulation, 
including  those  which  have  reference  to  rhythm:  Note  especially  that  the  raised  fifth 
($5)  suggests  a modulation  to  the  relative  minor. 


Modulation  to  the  Submediant  and  Return  to  the  Tonic 

Flajor  or  Hinor. 


Ex.  95. 


& It 


I 

F*-~P— pzp=— s 


1 M L 


lmo.  Y 2 do 


-4 


-4-4-*- 
3=^4 


=1 


4- 


-tz\ 


Cl 


IV« 


aV| 


Cii 


V6 


72 


GENERAL  SIGHT-READING. 


Mi 


B 

1* 

• 

r» 

• 

i 

1 mo.  V 2 do. 


GENERAL  SIGHT-READING. 


73 


_ 

1 mo.  \ 

2do. 

1 1 1 i 

— 

74 


GENERAL  SIGHT-READING. 


LESSON  L. 


The  Dominant  Seventh,  Rhythm. 

The  dominant  triad  has  already  been  fully  treated;  the  dominant  seventh  chord 
is  formed  by  adding  another  third  to  the  dominant  triad,  making,  thus,  a four-tone 
chord  the  upper  note  of  which  (4)  is  a seventh  from  theroot(o);  these  tones  being 
dissonant,  demand  a resolution  (a  progression  into  an  inactive  chord).  In  order  to 
easily  understand  this  form  of  harmony,  several  facts  already  familiarized  should  be 
recalled:  The  tones  of  the  scale  included  in  this  chord  are  5,  7,  2,  4,  of  these  7,  2,  4, 
are  active,  and  5 inactive;  (See  Lesson  II,  Fig.  8).  7,  4,  is  the  diminished  fifth;  7 must 
ascend  to  1,  and  4 descend  to  3.  (See  Lesson  XIII,  Fig.  28).  7,  2,  4 is  the  diminished 
triad,  (See  Lesson  XXIX,  Fig.  44),  whose  tones  move  thus;  7 to  1,  4 to  3 and  2 to  1; 
tnese  inactive  tones  with  the  root  (5)  form  the  tonic  chord,  so  that  the  natural  reso- 
lution of  the  dominant  seventh  chord  is  to  the  tonic  in  major  or  minor. 


Fig.  56. 


V vii°  V7  V7  I V7  i 


Ex.  125  Sol.  Bk.  1 shows  this  chord  in  several  keys  with  the  resolving  tone 
some-times  in  major  and  sometimes  in  minor:  Analyze  it  thus:  Dominant-seventh 
chord  of  D-major,  dominant-seventh  chord  of  E-major,  dominant-seventh  chord  of  f ^ 
minor  etc.  Sing  and  play  it  first  as  it  is  written,  Met.  J=  84:  then  Alla  Breve 
Met.  = 66  to  ^ = 84:  When  playing  it  fill  out  the  triad  with  both  hands  in  the 
alternate  measures.  Study  Ex’s  198  and  199,  Sol.  Bk.  2,  as  follows;  Say  the  num- 
bers, sing  and  play  them,  beginning  at  Met.  J = 88  and  increasing  the  speed  to 
Met.  J=  120. 

LESSON  LI. 


The  Dominant  Seventh  Chord  and  Inversions. 

The  dominant  seventh  chord  is  subject  to  the  same  inversions  as  the  triad,  and 
as  it  is  a four-tone  chord,  it  has  a third  inversion  with  the  seventh  in  the  bass. 

Fig.  57. 


i 


=^==i 


-G> 

O 




V7 


VI 


V4 

' 3 


V4 


Fill  out  the  incomplete  measures  of  Ex.  96,  which  will  there  exemplify  the 
chord  of  the  dominant  seventh,  with  its  inversions,  in  every  major  key;  Mark  each 
chord  with  the  proper  numerals,  analyze  it  first  by  chords  thus,  dominant  seventh, 
tonic  six-four,  etc.  etc.  Analyze  each  dominant  seventh  chord  until  the  interval  can 
be  given  with  great  rapidity:  Sing  as  much  of  it  as  comes  within  the  compass  of 
the  voice,  play  it  until  this  chord,  in  any  of  its  forms,  in  any  major  key  can  be 
given  without  hesitation. 


GENERAL  SIGHT-READING 


75 


The  Dominant  Seventh  Chord  and  Inversion. 


Ex.  96 


' 

^ : i 

— t i — #- 

— I 0 — 1~ 

~ - 



* • -1 

tg±= 

* • — ±i 

• 

#* 


T6  V6 

X4  V 5 


I«  Y| 


I6 


76 


GENERAL  SIGHT-READING. 


GENERAL  SIGHT-READING. 


77 


b 


LESSON  LIJ. 

The  Dominant  Seventh  Chord  and  Inversions  in  Minor. 

Ex.  97  displays  the  use  of  the  same  chord  in  minor:  Fill  out  the  incomplete 
measures;  mark  each  chord  with  the  proper  letter  and  numerals;  study  it  according 
to  the  directions  for  Ex.  96. 


Ex.  97. 


78 


GENERAL  SIGHT-READING 


GENERAL  SIGHT-READING, 


79 


80 


GENERAL  SIGHT-READING. 


LESSON  LIU. 

Four=part  Harmony.  Positions. 

In  four-part  harmony  the  parts  are  usually  named  from  the  voices  which,  in  a 
mixed  quartet,  would  sing  them;  this  is  the  case  even  when,  in  pure  four-part 
writing,  the  composition  is  intended  for  instruments  instead  of  voices.  The  lowest 
voice  is  called  the  Bass,  the  next  higher  the  Tenor,  the  next  the  Alto,  the  highest 
voice  the  Soprano. 


M & Soprano 

Tenor 

• 

Bass 

The  foregoing  studies  contain  the  same  notes  for  both  hands ; in  them  the  dif- 
ferent inversions  of  a chord  have  been  explained  and  practised:  It  must  now  be 
recalled  that  the  term  “inversion”  always  refers  to  the  bass  (See  Lesson  XLIII).  In 
the  following  exercises  a separate  part  for  the  left  hand  is  written,  which  must  be 
considered  in  the  analysis  of  each  chord.  The  term  “position”  when  applied  to  a 
chord  refers  always  to  the  soprano,  and  a chord  may  have  as  many  positions  as  there 
are  parts.  When  the  root  is  in  the  soprano  the  chord  is  said  to  be  in  the  position 
of  the  root,  when  the  third  is  in  the  soprano  it  is  in  the  position  of  the  third,  or  the 
fifth  is  in  the  soprano  it  is  in  the  position  of  the  fifth,  etc.  The  word  “position,’’ 
then,  has  reference  to  the  soprano , the  word  “inversion”  to  the  bass. 

Fig.  59. 


Position  of  the  fifth 


In  Ex’s  98  & 99  the  chords  of  the  tonic,  subdominant  and  dominant  appear  in 
these  positions ; in  the  last  chord  hut  one,  the  dominant  seventh  is  introduced  with 
the  seventh  in  the  soprano;  in  this  case  the  chord  is  in  the  position  of  the  seventh. 
In  some  cases  the  lower  tones  of  a chord  are  written  on  the  bass  clef  in  order  to 
furnish  practice  in  this  quite  common  form  of  notation.  Play  these  exercises  in  all 
keys;  the  lesson  is  but  partially  learned  so  long  as  there  is  any  hesitancy  over  any 
of  these  chords  in  any  key:  the  exercises  may  also  be  sung  thus;  strike  the  bass 
tone  and  sing  the  soprano,  alto  and  tenor  in  strict  time. 


£ 


~-<Z.  'Position  of  the  root_ 



^ PqsUjon_of_the  third 


:s 


-G> 


Chord  Positions  in  Four=part  Harmony. 


Ex.  98. 


GENERAL  SIGHT-READING. 


81 


Ex.  99. 


.LESSON  LIV. 


Ex’s.  100,  101,  & 102  contain  modulations:  what  they  are  and  what  chords  are 
used  must  be  decided  by  the  pupil:  Study  them  according  to  the  directions  for 

Ex’s.  98  & 99. 


Modulations  in  Four=part  Harmony. 

Ex.  100. 


— i— >— 4- 

j— 

— 1— 

-1— 

} 

1 i i 

=r  t 

T 

— 0 — 
9 — 

tr 

1 s 

« L 0 

X- 

— 0 — 

W ! 

it 

AV 

1 1 

-l  ' 

•1 

- 

— & 

i - 

• 

Ex.  101. 


> U i ' j 

J 1 i | 

)ii 

| > 

r /l  <r®  t i 1 

f J 

T 

1 rm  ^ > * a 

i J 

A £ ! 

! a ~ 

« . 0 J 

1 0 2 

_ 2?,  • 

1 

1 

i T 

( ^ b 



1 "A 

1 * 

Sr 

2?  • 

Ex.  102. 


82 


GENERAL  SIGHT-READING. 


LESSON  LV. 

Next=  Related  Keys. 

The  next  related  keys  are  those  which  have  the  most  tones  in  common.  (See 
again  Lesson  XLYI).  This  will  be  most  easily  discovered  by  a comparison  of  signa- 
tures; those  which  have  but  one  change  in  the  signature  possess  the  largest  number 
of  common  tones,  and  are  therefore  the  next  related  keys.  Such  a comparison  dis- 
closes six  keys  which  have  but  a single  change  in  their  signatures.  The  following 
diagram  shows  these  six  major  and  minor  keys  to  be  those  whose  tonics  are  a fifth 
apart.  The  middle  column  contains  the  keys  which  are  the  center  of  each  series: 
those  to  the  right  are  a fifth  above,  those  to  the  left  a fifth  below;  the  large  letters 
indicate  the  major,  the  small  letters  the  minor. 

Diagram  of  Next=related  Keys. 


1st  series. 


2d  series. 


3d  series. 


4th  series. 


5th  series. 


6th  series. 


7th  Series. 


Enharmonic. 


8th  series. 
9th  series. 
10th  series. 


11th  series. 


12th  series. 


F 1 Flat, 
d 1 Flat. 

C no  Signature, 
a no  Signature. 

G 1 Sharp, 
e 1 Sharp. 

C no  Signature. 

G-  1 Sharp. 

D 2 Sharps. 

a no  Signature. 

e 1 Sharp. 

b 2 Sharps. 

G 1 Sharp. 

D 2 Sharps. 

A 3 Sharps. 

e 1 Sharp. 

b 2 Sharps. 

f $ 3 Sharps. 

D 2 Sharps. 

A 3 Sharps. 

E 4 Sharps. 

b 2 Sharps. 

f $ 3 Sharps. 

c $ 4 Sharps. 

A 3 Sharps. 

E 4 Sharps. 

B 5 Sharps. 

f 3 Sharps. 

c$4  Sharps. 

gjj  5 Sharps. 

E 4 Sharps. 

B 5 Sharps. 

F $ 6 Sharps. 

c § 4 Sharps. 

g $ 5 Sharps. 

d$  6 Sharps. 

B 5 Sharps. 

F$  6 Sharps. 

,C  J*  7 Sharps. 

( g#5  Sharps. 

/d$  6 Sharps. 

1 a | 7 Sharps. 

1 VCt2  7 Flats. 

Gi?6  Flats. 

/ ' D > 5 Flats. 

' a t?  7 Flats. 

efr  6 Flats. 

V biz  5 Flats. 

Giz  6 Flats. 

D t?  5 Flats. 

Alz  4 Flats. 

e V 6 Flats. 

b > 5 Flats. 

f 4 Flats. 

Dtz  5 Flats. 

Ab  4 Flats. 

Elz  3 Flats. 

btz  5 Flats. 

f 4 Flats. 

c 3 Flats. 

Al2  4 Flats. 

Ei?  3 Flats. 

Biz  2 Flats. 

f 4 Flats. 

c 3 Flats. 

g 2 Flats. 

Elz  3 Flats. 

B|z  2 Flats. 

F 1 Flat. 

c 3 Flats. 

g 2 Flats. 

d 1 Flat. 

Btz  2 Flats. 

F 1 Flat. 

C no  Signature. 

g 2 Flats. 

d 1 Flat. 

a no  Signature. 

GENERAL  SIGHT-READING. 


83 


In  Ex.  103  the  first  of  these  series  is  worked  out;  from  this  model  play  all  the 
remaining  series  until  any  one  of  them  can  be  played  at  call  without  hesitation. 
In  order  to  do  this  with  the  least  expenditure  of  effort,  the  following  directions 
should  be  explicitly  followed.  Notice  that  each  series  contains  a modulation  from 
a tonic  key  to  its  dominant  and  sub-dominant  keys  with  the  relative  minor  of  each: 
Memorize  each  series  from  this  point  of  view.  Notice  that  the  chord  succession  is 
the  same  in  each  modulation.  Notice  that  the  chord  positions  are  the  same  in  the 
corresponding  measures  of  each  modulation.  In  order  to  keep  the  parts  for  the  two 
hands  in  the  same  relative  position  to  each  other  when  playing  Ex.  103  in  other 
keys  it  will  be  only  necessary  to  see  that  the  soprano  and  bass  of  the  first  chord 
are  the  same  distance  apart  as  in  the  model,  and  to  move  the  parts  the  same  dis- 
tance and  in  the  same  direction  as  in  the  model  when  going  from  one  division  to  the 
next.  The  practical  point  sought  for  through  this  exercise  is  the  ability  to  recog- 
nize, instantly,  the  modulations  and  the  chords  in  any  and  all  of  the  series. 


LESSON  LVI. 

The  Same  Subject  Continued. 

On  account  of  the  great  importance  of  the  practical  points  to  be  gained  through 
the  study  of  Ex.  103  and  the  accompanying  diagram,  another  lesson  will  be  devoted 
to  it.  After  Ex.  103  has  been  practiced  in  every  series  on  the  diagram,  it  should 
be  carefully  written  out  in  every  series  once  at  least  and  more  than  once  in  the  more 
uncommon  keys  found  in  the  series  6,  7 & 8.  If  this  study  be  well  mastered  all 
future  musical  problems  will  be  mnch  simplified. 


Modulation  to  the  Next=related  Key. 

Ex.  103. 


ai| 


— 1 — } 

— 1 — i- 

kw  ' 

& • 

V*  i VI  or  FI  IV 


vi  or  di 


iv 


V’  i 


84 


GENERAL  SIGHT-READING. 


norei 


IV 


t6 

A4 


v? 


in  or  G-I 


IV 


LESSON  LVII. 

Modulation  by  Change  of  Mode,  the  Diminished  Seventh  Chord. 

The  subject  of  modulation  by  change  of  mode  was  touched  upon  in  Lesson  XLIX; 
what  was  there  laid  down  should  be  read  again  at  this  point.  By  merely  changing 
the  mode  a composition  may  be  brought  into  proximity  to  many  distant  keys. 
(Those  which  posses  few  tones  in  common).  If  in  Ex.  103  the  first  modulation  be 
changed  from  a-minor  to  A-major  the  1st.  series  of  keys  (see  diagram)  is  brought 
into  connection  with  those  of  the  3d,  ith.  and  5th.  series.  If  the  change  be  made 
in  the  secoud  modulation  from  E-major  to  f-minor  the  1st.  series  is  brought  into 
connection  with  8th.,  9th.  and  10th.  series,  etc.  Practice  such  changes  as  these 
until  great  facility  is  acquired. 

The  Diminished  Seventh  Chord. 

The  diminished  seventh  chord,  like  the  interval  with  the  same  name,  (see  Les- 
son XXXIX)  is  founded  on  the  leading-tone  of  the  minor  scale:  It  is  formed  by  the 
addition  of  another  minor  third  to  the  diminished  triad : All  its  intervals  are  alike ; 
viz.  its  thirds  are  all  minor  and  its  fifths  are  all  diminished,  on  this  account  it  is 
easily  manipulated  and,  as  it  resolves  as  readily  to  major  as  to  minor,  it  is  often  used 
as  a very  convenient  means  of  modulation.  It  is,  in  reality,  a part  of  the  dominant 
harmony,  and  when  used  with  the  dominant  it  forms  the  chord  of  the  dominant 
ninth. 

FiG.  60.  Diminished  7th. 


Diminished  Seventh  Chord  in  Minor.  In  Major.  Dom.  9th.  and  resolution. 


GENERAL  SIGHT-READING. 


85 


The  diminished  seventh  chord  is  also  subject  to  the  usual  inversions;  it  is 
markes  thus:  vn(7* 


Fig.  61. 

Maj.  7th.  to  Dim.  7th.  and  resolution.  Min.  7tli.  to  Dim.  7th.  and  resolution.  Dim.  7th.  and  Inversions. 


1— g— 

§ 1 

jLr — £5 — 

- 01' 

1 1 

or-fefiH 

-R™ — 

1 

' Z3 

1 s 

*rr- — (S? — 

^ -6h 

i7 

VII 0 I 

I 

V7 

VII 0 I 

I 

P- 

VII 7 

& 

VII0 1 VII0 4 

VII°4 

Ex.  101  shows  the  chord  of  the  diminished  seventh  and  its  inversions.  Fill  out 
the  incomplete  measures  with  care  and  mark  the  chords  with  the  proper  mumerals. 
Memorize  the  root  and  seventh  of  each  chord,  as  it  is  by  these  that  the  chord  is  to 
be  recognized  when  it  is  introduced  chromatically  as  is  very  often  the  case.  Play 
it  until  it  is  memorized,  and  sing  those  divisions  which  are  within  the  compass  of 
the  voice. 


The  Diminished  Seventh  Chord  and  Inversions. 

Ex.  104. 


86 


GENERAL  SIGHT-READING, 


GENERAL  SIGHT-READING. 


87 


Ex.  105  shows  the  diminished  seventh  chord  as  a means  of  modulation:  Ana- 
lyze the  chords  and  mark  them  with  the  proper  letters  and  numerals;  fill  out  the 
incomplete  measures,  making  the  enharmonic  change  from  C$  to  Db  at  the  proper 
time:  Play  it  until  any  of  these  chords  can  be  given  without  hesitation.  Alternate 
the  formulas  in  Ex’s.  103  & 105  until  either  can  be  given  at  call.  There  are  many 
other  devices  for  modulation  which  will  be  fully  elaborated  in  the  department  of 
harmony;  the  object  of  the  foregoing  study  is  to  gain  an  accurate  acquaintance  with 
chords  and  with  the  signs  of  modulation,  without  which  any  real  facility  in  sight- 
reading is  an  impossibility.  Analyze  and  sing  Ex.  182  Sol.  Bk.  2,  using  great  care 
as  to  the  intonation  of  the  fifths  in  the  alternate  measures. 


The  Diminished  Seventh  Chord  and  its  Resolution. 

Ex.  105. 


lmo.  Y 2 do. 


lmo.  Y 2 do. 


lu-  It  ft  I 

sis 


— fe1 

I 


in 


lmo.  Y 2 do. 


&&  • 


□02 

-j?S22. 


'Z.—STZ1 


u 


Bfe 


88 


GENERAL  SIGHT-READING. 


LESSON  LVIII. 

Chords  in  open  Harmony,  Nonharmonic  Tones. 


The  previous  studies  have  contained  chords  in  close  position  only;  viz.  with  the 
three  upper  voices  as  close  together  as  is  possible  in  contrast  to  open  harmony,  a 
more  dispersed  arrangment  of  the  same  voices  between  which  other  members  of  the 
same  chord  may  be  written. 

Close  Harmony.  Open  Harmony. 


The  following  selections  introduce  both  varieties  in  order  to  furnish  practice  in 
recognizing  chords  which  are  so  written.  Analyze  the  chord  structure  as  rapidly  as 
possible,  giving  the  name  of  the  chord  and  its  form,  if  it  is  inverted;  point  out  the 
chords  which  are  in  open  harmony ; play  them  many  times  in  several  keys ; sing  the 
parts  which  are  written  within  the  compass  of  the  voice. 


GENERAL  SIGHT-READING. 


89 


Ex.  106.  Richard  Redhead. 


Ex.  107.  German. 


n + 

ry* 

f L*  | I \ 

nil 

-i-i  j 

1 

'n  1 J ' 1 _ 

_|  | i 

1 

7m  n Zt  0 & ^ 

1 

v / 0 ! 

<<  0 ^ 

1 

o 0 0000^0,  0 .g.  00  • 

- J J .J  ^ ^ _ 

r\« 

\ > 0 

0 0 

'0  V'  0 

)♦? 

0 1 

0 V 

0 • 1 

/ 

1 

r fe  H 

i r 

^ 1 

^ tt  r ^ ^ r 

^ t _0  . 

1 

1 1 ‘ i i 

Nonharmonic  tones  are  those  which  are  foreign  to  the  chords  in  which  they 
appear;  there  are  several  varieties  only  two  of  which  will  he  touched  upon  here; 
the  Passing-note  and  the  Suspension.  Such  tones  are  invariably  a step  higher  or 
lower  than  the  legitimate  member  of  the  chord.  The  Suspension  is  a note  which 
has  appeared  in  a chord  of  which  it  is  a member  and  which  is  held  over,  “suspended,” 
into  a chord  of  which  it  is  not  a member;  the  discord  thus  produced  must  he  imme- 
diately resolved  by  allowing  the  suspension  to  progress  into  the  consonant  note 
which,  for  the  moment,  it  has  displaced. 


90 


GENERAL  SIGHT-READING. 


Passing  tones  are  also  those  which  are  foreign  to  the  harmony.  They  occur  on 
the  unaccented  part  of  a measure  in  passing  from  one  tone  of  a chord  to  another. 
Fig.  63. 


m • • 


m 

i 


-S»- 


--<57 


-&C21 gr 

^ g- 

— I2- 


1 


e 0 0 e- 


73 


"f- 


* * 


-(S*- 


zs: 


* ;fe 


^ * 


The  following  selections  contain  illustrations  of  both  the  suspension  and  pass- 
ing-note; point  these  out  when  analyzing  and  strive  to  make  the  analysis  as  rapid 
as  possible.  Sing  the  parts  which  come  within  the  compass  of  the  voice;  play  them 
as  they  are  written  and  in  several  other  keys. 

Ex.  108.  German. 


r ! ! ~~  jj  _ 

_ZL 

V~T7~  ^ 73^  Q 

| -9  i9-  -«- 

r-  r r 

<5*-  j 

vTL  77.  v- 

Cs  5 

k v r r r* 

73 

t" 

r r 1 

r 

GENERAL  SIGHT-READING. 


91 


Ex.  110. 


German. 


LESSON  LIX. 

Melodic  Transposition. 

Transposition  may  be  said  to  be  of  two  kinds,  chordal  or  melodic;  the  preceding 
lessons  have  laid  particular  emphasis  on  the  former  variety,  and  the  drill  has  con- 
sisted of  the  recognition  of  chords  and  their  transposition  from  the  key  in  which 
they  are  written  to  many  other  keys.  This  form  of  transposition  has  particular 
application  to  music  in  which  the  chordal  element  predominates.  Melodic  transpo- 
sition has  reference  to  music  in  which  the  melodic  element  predominates,  wherein 
the  composer  chooses  a melody  for  a theme  and  the  other  voices  imitate,  to  a greater 
or  lesser  degree,  this  theme.  In  the  following  selections  all  the  voices  repeat  the 
theme  at  the  distance  of  an  octave  or  of  some  other  interval;  think  of  the  numbers 
represented  by  each  note,  and  play  them  always  in  some  other  key  than  that  in  which 
they  are  written ; sing  them  also  with  one  or  two  voices  on  each  part. 


Ex.  111.  CANONS.  Konrad  M.  Kunz. 


, -i  =^= 

-N  -f  — i -J 

i 1 1 — 

n h = 

1 =i  =1  . • = 

^ “J' “j  = = 

=1  J j * 

* • 0 J - ~ 

J ^ w • 9 J 

) v - 

m. 0 

j • t — * — 

# • J 

• 0 — 

m #— i- m 

1 - * * 

-m f 1 r — 

9 • 0 9 

-0 * 1 * — 

V ^ F [- 

-\ 1 1 / — 

± t F t--: 

1 1 ]/ — 

J \J  \ 1 

J _N  . 

■ 

1 

(ftv  J J 

0 * J J 

- j 

zj  " I 

i vu  1 J m 9 

- 0 i 

- • ^ 

m 0 w w & 

f L \ • ---  m 

»-0  7-  9 

f i i 

7 0-00 

trn  I 

s k L j r . r 

L L 

r i i 

< 9 t t t 1= 

i i 1 

t t t 

± t \ 

92 


GENERAL  SIGHT-READING. 


Ex.  112. 


Ex.  113. 


